University  of  California  •  Berkeley 

From  the  Library  of 

Charles  Erskine  Scott  Wood 

and  his  Wife 

Sara  Bard  Field 

Given  in  Memory  of 

JAMES  R.CALDWELL 


o     w-«*v*w 


VERSE  AND  PROSE 


BY 


EUGENE  FIELD 


FROM  THE  GEORGE  H.  YENOWINE  COLLECTION 
OF  BOOKS  AND  MANUSCRIPTS 


EDITED  BY  HENRY  H.  HARPER 

WITH  AN  INTRODUCTION  BY 

WILLIAM  P.  TRENT 


PRINTED  EXCLUSIVELY  FOR  MEMBERS  OF 

THE    BIBLIOPHILE    SOCIETY 

BY  PERMISSION  OF  MR.  WILLIAM  K.  BIXBY 

BOSTON— MCMXVI I 


COPYRIGHT,     1917,     BY 
THE     BIBLIOPHILE     SOCIETY 


A II  right*  reserved 


INTRODUCTION 

To  the  several  volumes  of  the  collected  edi- 
tion of  Eugene  Field's  writings  in  verse  and 
prose  issued  nearly  twenty  years  ago  various 
well  established  writers  contributed  introduc- 
tions. Why  such  a  popular  author  as  Field 
then  was  should  have  needed  such  a  host  of 
sponsors  is  not  clear,  but  it  is  fairly  apparent 
that  today  he  is  able  to  dispense  with  all  help 
of  the  sort,  granted  that  it  really  is  a  help.  If 
anyone  doubts  this,  he  may  speedily  convince 
himself  of  his  error  by  taking  note  of  the  well 
rubbed  condition  of  some  of  the  volumes  in  the 
Columbia  Library's  set  of  Field's  works.  Yet 
while  I  am  convinced  that  no  book  by,  or  deal- 
ing with,  Eugene  Field  needs  any  sort  of  intro- 
duction, his  kindly  ghost  and  the  kindly  reader 
—  an  unkindly  reader  of  a  book  about  Field  is 
almost  unthinkable — will  doubtless  pardon  me 
for  contributing  these  few  paragraphs  to  the 
present  volume. 

Mr.  Harper  has  so  well  described  the  Yeno- 
wine  Collection  of  Field's  writings  which 
yielded  the  materials  from  which  this  volume 

Cv] 


has  been  compiled,  and  he  has  brought  out 
so  clearly  the  special  interest  attaching  to  the 
items  it  has  been  thought  fit  to  reproduce,  that 
to  dilate  on  the  pleasure  the  Field  enthusiast 
is  likely  to  derive  from  what  he  will  encounter 
in  these  pages  would  be  as  superfluous  as  to 
descant  upon  the  attractiveness  of  Eugene 
Field  himself,  whether  he  be  viewed  as  the 
embodiment  of  all  that  is  friendly  and  whim- 
sical, as  the  poet  of  childhood,  or  as  the  born 
journalist  who  was  also  the  genuine  man  of 
letters.  It  may  not  be  superfluous,  however, 
to  lay  emphasis  on  the  fact  that  among  Ameri- 
can writers  no  one  has  a  greater  claim  to  the 
attention  of  true  bibliophiles  than  the  collector- 
author  with  whom  we  are  now  enabled  to  be- 
come more  intimately  acquainted. 

Although  facsimiles  of  Field's  unforgettable 
handwriting  and  of  his  capricious  drawings 
are  obtainable  elsewhere,  they  do  not  seem  to 
produce  such  a  definite  impression  as  they  do 
here;  and  what  could  bring  out  more  clearly 
and  concretely  Field's  devotion  to  the  higher 
sides  of  his  genius  and  calling  than  his  own 
methodical,  alphabetical  listing  of  all  the  titles 
of  his  verses  and  prose  tales?  He  had,  we  see, 
his  share  of  the  love  of  fame,  but  more  than 
his  share  of  the  love  of  good  work  for  good 

[vi] 


work's  sake,  and  of  the  love  for  fellow-men 
and  —  what  is  better  —  fellow-children. 

Of  the  specific  items  in  the  Yenowine  Col- 
lection—  it  will  be  remembered  by  the  close 
reader  of  Field's  verse  that  the  name  of  his 
friend's  Kentuckian  family  occurs  in  the  line 
of  "The  Peter-Bird"  that  runs- 

The  Yenowines,  Crittendens,  Dukes,  the  Hickmans, 
the  Hobbses,  the  Morgans  — 

undoubtedly  the  most  important  is,  as  Mr. 
Harper  has  stated,  the  bound  volume  contain- 
ing most  of  the  original  manuscripts  of  those 
translations  and  paraphrases  from  Horace  which 
are  regarded  by  some  persons  as  likely  to  be, 
apart  from  a  handful  of  poems  of  sentiment 
and  humor  which  the  anthologist  will  not  let 
die,  Field's  most  enduring  contribution  to  liter- 
ature. This  volume  of  manuscripts  may  well 
be  regarded  by  Mr.  Bixby,  to  whose  unex- 
ampled generosity  we  Bibliophiles  are  now 
once  more  indebted,  as  one  of  the  very  choicest 
of  his  literary  possessions.  It  suggests  the 
pleasant  thought  that,  in  the  long  run,  like 
may  be  trusted  to  encounter  like.  This  unique 
memorial  of  an  insatiate  collector  has  found  a 
fit  abiding  place  with  other  similar  treasures 
gathered  by  a  lover  of  things  beautiful  and  rare, 

[vii] 


and  the  muse  of  the  most  intimate  of  modern 
poets  has  associated  herself  for  the  times  to 
come  with  the  kindred  muse  of  the  most  inti- 
mate of  the  poets  of  antiquity.  The  advantages 
such  a  conjunction  must  confer  on  Field's  fame 
and  memory  need  not  be  dwelt  upon,  but  it 
may  be  appropriate  to  remark  that  not  the 
least  of  these  is  likely  to  be  a  comparative  im- 
munity from  pedantic  criticism.  Due  allow- 
ance being  made  for  the  fact  that  Horace  wrote 
in  a  dead  language,  neither  writer,  for  fairly 
obvious  reasons,  seems  to  have  strong  attrac- 
tions for  scholarly  bores.  Nor  does  either,  we 
may  opine,  furnish  much  delight  to  literary 
faddists  —  to  the  well  meaning  people,  always 
with  us,  who  strive,  as  the  saying  is,  to  make 
up  for  inanity  of  matter  by  insanity  of  style. 

Next  in  interest  to  the  material  connected 
with  the  Horatian  paraphrases  comes  the  por- 
tion of  this  volume  that  is  concerned  with 
"Villon  and  I"  and  with  Field's  last  man- 
uscript. The  art  —  or  knack — -of  weaving 
proper  names  into  attractive  verses  is  not  one 
with  which  most  poets  are  born,  or  which  they 
acquire  with  great  ease;  but  Field  in  some  way 
made  it  his  own,  and  rarely,  if  ever,  put  it  to 
better  service  than  in  the  unfinished  stanzas 
that  seek  to  confer  a  deserved  immortality  upon 

[viii] 


sundry  leading  second-hand  booksellers  of  Lon- 
don and  elsewhere.  A  more  appropriate  set 
of  verses  for  the  poet-collector  to  have  been 
writing  in  his  last  conscious  moments  it  would 
be  difficult  to  imagine,  and  his  admirers  will 
be  grateful  to  his  friend  Yenowine  for  having 
preserved  them.  They  will  doubtless  be  grate- 
ful also,  though  in  less  measure  or  in  a  different 
way,  for  being  able  to  share  in  the  woes  of 
Mr.  Peattie  over  his  lost  rubbers,  and  to  con- 
nect once  more,  this  time  through  the  stanzas 
entitled  "The  Humane  Lad,"  the  tricksy  elfish- 
ness  of  Eugene  Field  with  the  staid  exemplari- 
ness  of  Dr.  Isaac  Watts. 

W.  P.  TRENT. 


[ix] 


,  S     A.      -VwAo*, 
'>vv        0*-* 


'VttA* 


Author's   inscription   in   copy  No.    177, 

h-'in^rna-'p  paper   edition  of   "A  kittle 
Book  of   Profitable  Talcs,"    printed 
by   John  Wilson  &   Son. 


/>wtcJ 


-«XA^l*v 


Author's  inscription  in  "The  Symbol 
and  the  Saint,"  first  edition., .  illus 
trated  "by  J.  L.  Schlanders, .  1886. . 


VERSE  AND  PROSE 

The  most  important  item  in  the  Yenowine 
collection  of  Eugene  Field's  books  and  MSS. 
is  a  bound  volume  containing  most  of  Field's 
original  manuscript  translations  and  paraphrases 
of  the  Ars  Poetica  and  the  Odes  of  Horace. 
From  various  pencil  marks  and  other  evidence 
it  appears  that  these  MSS.  were  used  as  printer's 
"copy"  in  setting  up  the  text  of  Echoes  From 
the  Sabine  Farm;  and  they  have  added  value 
in  that  they  disclose  a  number  of  errors  and 
variations  in  the  printed  text.  The  MSS., 
according  to  Field's  wont,  are  written  and 
punctuated  with  great  precision  and  accuracy, 
and  for  the  most  part  they  were  faithfully 
copied  by  the  printer;  but  there  are  a  number 
of  discrepancies  which  should  be  corrected  in 
order  to  make  an  authoritative  text.  For  ex- 
ample, the  first  two  lines  of  Ode  II,  Book  II 
of  Horace,  which  Field  rendered  — 

To  Scythian  and  Cantabrian  plots 
Pay  thou  no  heed,  O  Quintus! 


were  printed  (page  116,  Echoes  From  the  Sabine 
Farm)  — 

To  Scythian  and  Cantabrian  plots 
Pay  them  no  heed,  O  Quintus! 

which  destroys  or  else  makes  unbearably  awk- 
ward the  grammatical  construction  of  the  open- 
ing sentence.  The  word  "thou"  is  plainly 
written,  and  no  reasonable  excuse  can  be  as- 
signed for  changing  it  to  "them." 

In  the  third  and  fourth  lines  of  stanza  ii  of 
Horace's  famous  Soracte  ode,  Field's  manu- 
script reads  — 

And,  better  yet,  sweet  friend  we'll  whet 
Our  spirits  with  some  four-year-old  — 

while  in  the  text  as  printed  (page  62  of  the 
"Echoes")  it  reads  — 

And  better  yet,  sweet  friend,  we'll  wet 
Our  whistles  with  some  four-year-old. 

It  is  impossible  to  say  whether  Field  made  the 
change  in  the  proofs,  or  if  the  perversion  is 
to  be  charged  to  the  printer;  but  whoever  is 
responsible,  it  is  none  the  less  regrettable  that 
the  slang  phrase  "we'll  wet  our  whistles" 
should  have  been  inserted  in  a  poem  of  such 
dignity.  It  is  at  least  interesting  to  know  that 
Field  cannot  be  accused  of  having  committed 

[2] 


the  indignity  at  the  time  he  made  his  transla- 
tion. The  first  three  stanzas  show  how  well 
he  caught  the  spirit  of  the  original.  — 

See,  Thaliarch  mine,  how  white  with  snow 

Soracte  mocks  the  sullen  sky; 
How,  yearning  loud,  the  woods  are  bowed, 

And  chained  with  frost,  the  rivers  lie. 

Pile  —  pile  the  logs  upon  the  hearth  — 
We'll  melt  away  the  envious  cold; 

And,  better  yet,  sweet  friend,  we'll  whet 
Our  spirits  with  some  four-year-old. 

Commit  all  else  unto  the  gods 

Who,  when  it  pleaseth  them,  shall  bring 

To  fretful  deeps  and  wooded  steeps 
The  mild  persuasive  grace  of  spring. 

The  lines  on  pp.  53-55  of  the  printed  edition 
entitled  "The  Lyric  Muse,"  are  accompanied 
by  no  statement  whatever  that  they  are  trans- 
lated from  any  part  of  Horace's  writings,  and 
for  all  the  reader  is  told  they  may  be  an  original 
composition  by  Field  himself.  The  index,  how- 
ever, does  contain  a  bit  of  information,  or  mis- 
information, which  is  widely  at  variance  with 
the  manuscript.  In  three  of  the  editions  at 
hand  the  indexes  read,  "Ars  Poetica,  line  301;" 
whereas,  at  the  top  of  the  original  manuscript 
Field  wrote  in  large  letters  of  red  and  black 
ink:  — 

[3] 


THE   "ARS   POETICA"  OF  HORACE  — XXIII. 
(Lines  391-407.) 

Moreover,  in  the  second  line  of  the  third  stanza, 

Field  wrote  — 

i 
Old  Homer  sang  unto  the  lyre 

which  was  changed  in  printing  to  — 
Old  Homer  sung  unto  the  lyre 

The  sixth,  seventh,  eighth  and  ninth  lines  of 
the  same  stanza  in  the  manuscript  are  clearly 
written  and  punctuated  as  follows:  — 

The  oracle,  when  questioned,  sings  — 
So  we  our  way  in  life  are  taught; 

In  verse  we  soothe  the  pride  of  kings, 
In  verse  the  drama  has  been  wrought. 

The  alteration  of  words  and  punctuation  in  the 
printed  version  changes  the  meaning  entirely. 
It  reads  — 

The  oracle,  when  questioned,  sings; 

So  our  first  steps  in  life  are  taught. 
In  verse  we  soothe  the  pride  of  kings, 

In  verse  the  drama  has  been  wrought. 

Here  the  regularly  rythmical  line  — 
So  we  our  way  in  life  are  taught 

[4] 


is  rendered  irregular  and  harsh,  and  instead  of 
ourselves  being  taught,  our  "first  steps  in  life 
are  taught."  The  manuscript,  furthermore, 
says  that  the  oracle  sings,  and  then  seems  to 
proceed  to  tell  what  it  sings,  viz:  —  So  we  our 
way  in  life  are  taught,  etc.  Whereas,  in  the 
text  as  printed  the  oracle  is  said  to  have  sung, 
but  of  what  we  are  not  informed.  The  semi- 
colon following  the  word  "sings"  and  the  period 
at  the  end  of  the  next  line  entirely  alter  the 
text  of  the  MS.  and  instead  of  the  oracle 
singing  the  last  three  lines  as  in  the  manu- 
script, they  are  made  to  issue  from  the  mouth 
of  the  poet. 

In  the  twenty-second  ode  of  Book  I,  stanza 
iii,  Field  wrote:  — 

Lo,  on  a  time  I  gaily  paced 
The  Sabine  confines  shady, 
And  sang  in  glee  of  Lalage  — 

the  last  line  of  which  was  printed  — 

And  sung  in  glee  of  Lalage  — 
Again,  in  the  next  stanza  the  MS.  reads  — 

And,  as  I  sang,  a  monster  wolf, 
which  is  printed  — 

And  as  I  sung,  a  monster  wolf  — 

[5] 


Among  the  MSS.  in  the  volume  there  are  two 
paraphrases  of  Horatian  Odes  which  do  not 
appear  ever  to  have  been  printed;  perhaps  for 
the  reason  that  they  passed  into  Yenowine's 
possession  before  the  Echoes  From  the  Sabine 
Farm  was  published,  and  were  probably  over- 
looked by  Field.  The  first  of  these  is  Ode 
XXXI,  Book  I,  signed  and  dated  "Dresden, 
1890,"  as  shown  in  the  accompanying  facsimile. 
This  was  while  Field  was  abroad,  and  it  is  the 
only  one  of  his  Horatian  paraphrases  showing 
the  place  where  it  was  done,  with  the  single  ex- 
ception of  Ode  XVIII,  Book  I,  dated  "Chicago, 
August  22nd,  1889,"  which  date  has  been 
crossed  out  in  the  MS.,  perhaps  by  the 
printer.  The  Ode  translated  at  Dresden  is 
written  in  purple  ink  with  rubricated  initials 
at  the  beginning  of  each  stanza,  and  runs  as 
follows:  — 

As  forth  he  pours  the  new-made  wine, 
What  blessing  asks  the  lyric  poet  — 

What  boon  implores  in  this  fair  shrine 
Of  one  full  likely  to  bestow  it? 

Not  for  Sardinia's  plenteous  store, 
Nor  for  Calabrian  herds  he  prayeth, 

Nor  yet  for  India's  wealth  galore 
Nor  meads  where  voiceless  Liris  playeth. 
[6] 


-il'rn, 


<ynt, 


t4ic4  .&*.•</  h 
-m<i  t   Jc^'t 


.,   /dr,   r/(f<^     /",,{,     7./ 


Uiyt^» 


Let  honest  riches  celebrate 

The  harvest  earned  —  I'd  not  deny  it; 
Yet  am  I  pleased  with  my  estate, 

My  humble  home,  my  frugal  diet. 

Child  of  Latona,  this  I  crave: 

May  peace  of  mind  and  health  attend  me, 
And  down  unto  my  very  grave 

May  this  dear  lyre  of  mine  befriend  me! 

EUGENE  FIELD. 

Dresden,  1890. 

N.  L.  Torre's  more  stately  version  is  here 
given  for  purposes  of  comparison.  Field's 
rather  free  paraphrase  is  done  in  four  lines  less 
than  the  Latin,  while  both  Torre  and  Sir 
Theodore  Martin  in  their  more  literal  versions 
exceeded  the  original  by  four  lines.  - 

What  gift  of  Phoebus  have  I  prayed?  — 

The  fresh  libation  duly  made, 

What  asks  the  bard?  —  No  fruitful  stores, 

The  harvest  of  Sardinian  shores; 

No  herds  Calabrian  hills  supply, 

Nor  gold,  nor  Indian  ivory; 

For  rural  meads  no  wish  he  knows, 

Where  Liris,  gentle  river,  flows. 

Let  others  prune  Calenian  vines 

For  whom  propitious  fortune  shines; 

Let  merchants  at  their  board  produce 

In  golden  cups  the  purple  juice, 

[7] 


Exchanged  for  Syrian  wares;  who  brave 
Thrice  in  each  year  the  Atlantic  wave, 
And  safe  in  Heaven's  peculiar  care 
The  perils  of  the  ocean  bear. 

For  me  shall  be  the  olive  dressed, 
Mallows  and  endive  be  my  feast. 
Son  of  Latona!  grant  me  this  — 
My  destined  lot  to  meet  in  bliss! 
Grant  to  my  prayer  health  unconfmed; 
And,  oh,  preserve  my  peace  of  mind  I 
Let  my  old  age  unspotted  prove 
And  brightened  by  the  Muse's  love. 

The  second  unpublished  paraphrase  is  of 
Ode  XXXIV,  Book  I  of  Horace,  as  shown  in 
the  facsimile.  It  is  dated  September  8,  1889, 
and  signed.  Five  colors  of  ink  were  used,  — 
brown,  red,  green,  bronze  and  black.  It  is  as 
follows:  — 

I  have  not  worshiped  God,  my  King  — 
Folly  has  led  my  heart  astray; 

Backward  I  turn  my  course  to  learn 
The  wisdom  of  a  wiser  way. 

How  marvelous  is  God,  the  King! 

How  do  His  lightnings  cleave  the  sky  — 
His  thundering  car  spreads  fear  afar, 

And  even  hell  is  quaked  thereby! 

[8] 


3 


SYWU  /I\MA.Q 

^  l<f ' 

^vt*|  A 

.  i 

^vtu.-  . 


SlMu  •— 


^VWAxUM./ 

tMX 


Omnipotent  is  God,  our  King! 

There  is  no  thought  He  hath  not  read, 
And  many  a  crown  His  hand  plucks  down 

To  place  it  on  a  worthier  head! 

EUGENE  FIELD. 

September  8, 1889. 

Here  again  Field  has  made  his  paraphrase  in  a 
less  number  of  lines  than  the  original  Latin. 
He  often  wandered  wide  of  the  text,  as  will  be 
seen  by  comparing  his  lines  with  Sir  Richard 
Fanshawe's  more  literal  interpretation  in  the 
same  number  of  lines  as  the  original.  — 

I  that  have  seldom  worshipped  Heaven, 
As  to  a  mad  sect  too  much  given, 
My  former  ways  am  forced  to  balk 
And  after  the  old  light  to  walk. 
For  cloud-dividing-lightning  Jove 
Through  a  clear  firmament  late  drove 
His  thundering  horses  and  swift  wheels; 
With  which  supporting  Atlas  reels: 
With  which  Earth,  Seas,  the  Stygian  lake 
And  Hell  (with  all  her  Furies)  quake. 
It  shook  me,  too.    God  pulls  the  proud 
From  his  high  seat,  and  from  their  cloud 
Draws  the  obscure;  levels  the  hills, 
And  with  their  earth  the  valley  fills. 
'T  is  He  does  all,  He  does  it  all: 
Yet  this  blind  mortals  Fortune  call. 

[9] 


Seventeen  of  the  twenty-three  MSS.  of  Hora- 
tian  paraphrases  contained  in  the  volume  are 
dated,  and  all  are  signed  in  full.  The  dates  on 
most  of  them  have  been  crossed  through  with 
pencil,  doubtless  by  the  printer,  and  in  no 
instance  does  the  date  appear  in  the  printed 
editions.  The  pieces  to  which  dates  are  affixed 
are  as  follows:  — 

Ode  XXX,  Book  III,  March  19,  1889 

Ode  II,  Book  IV,  March  25,  1889 

Ode  II,  Book  II,  August  26,  1889 

Ode  XVIII,  Book  I,  Chicago,  August  22, 1889 

Lines  1-23  "Ars  Poetica,"  September  2,  1889 

Lines  391^K)7  "Ars  Poetica,"  September  3, 

1889 

(These  were  expanded  to  thirty-six  lines 

in  the  translation) 
Lines  323-333  "Ars  Poetica,"  September  5, 

1889 

Ode  XXXIV,  Book  I,  September  8,  1889 
Odes  XXII  and  XXXIII,  Book  I,  September 

10,  1889 

Horace  to  his  Lute,  September  11,  1889 
Ode  III,  Book  II,  September  13, 1889 
Ode  VII,  Book  II,  September  17,  1889 
Ode  I,  Book  IV,  September  18,  1889 
Ode  XXXI,  Book  I,  Dresden,  1890 
[10] 


Ode  IX,  Book  I,  February  5, 1891 

Ode  XXIX,  Book  III,  February  27,  1891 

It  will  therefore  be  seen  that  most  of  Field's 
translations  from  Horace  were  made  in  the 
fall  of  1889,  perhaps  while  he  was  in  ill  health, 
for  in  his  Auto-analysis  he  says:  "111  health 
compelled  me  to  visit  Europe  in  1889;  there  I 
remained  fourteen  months."  Only  two  of  his 
translations  were  made  after  his  return  from 
Europe  —  those  dated  February  5  and  27,  1891. 

One  of  the  most  interesting  Field  MSS.  ex- 
tant is  his  personal  sketch  of  his  life.  The  orig- 
inal draft  in  the  Yenowine  collection  is  dated, 
"New  Orleans,  March  14,  1894,"  the  year 
before  his  death.  Accompanying  the  MS.  is  a 
four-page  Japanese  vellum  leaflet  on  which  the 
sketch  is  printed  in  full.  At  the  top  of  page  1, 
Field  has  written:  "Of  eight  copies  on  Japan 
paper  this  is  No.  7."  It  is  signed  at  the  end  and 
dated  "April  5,  1894,"  from  which  it  appears 
that  the  sketch  was  put  into  type  and  printed 
not  more  than  three  weeks  after  it  was  written. 
In  1896  F.  M.  Morris  printed  an  edition  of  one 
hundred  and  fifty  copies  on  Japanese  vellum, 
under  the  title  of  Eugene  Field  —  Auto-analysis. 

In  the  first  page  there  is  a  curious  discrepancy 
between  the  printed  copy  and  the  manuscript 

en] 


—  a  facsimile  of  which  appears  herein  —  where 
Field  says:   "We  have  had  eight  children  (two 
daughters  and  six  sons;"  whereas  in  the  printed 
text  it  reads  "three  daughters  and  five  sons." 
There  are  other  more  or  less  important  varia- 
tions, among  them  the  addition  of  a  complete 
paragraph  of  eleven  lines  on  the  last  page  of  the 
printed  copy  —  probably  added  in  the  proofs 

—  and  the  omission  of  the  written  statement: 
"  I  do  not  care  much  for  so-called  literary  peo- 
ple; they  make  me  weary."    After  "I  believe 
in  churches  and  schools,"  Field  added  in  the 
printed  text,  —  "I  hate  wars,  armies,  soldiers, 
guns  and  fireworks." 

In  view  of  the  personal  interest  that  attaches 
to  this  sketch,  it  has  seemed  desirable  to  print 
it  here  in  full. 


[12] 


is  i  tit  of  PI 


war?  p^ter*    in 
copy   of    "Echoes 


«-f-«*vixJ    tfu^-i)      /U     V-K;,W.     y/4*imn»cc  ,  ^  y  •> 


-f*  ^  £vvt«a      VU-*MA«AV  ,     (f) 


Mo<5<*vO    (Ac 


Author's  inscription  on  first  fly-leaf 
of  "Echoes  from  the  Sabine  Farm,"  copy 
No.  41  of  handmade  paper  edition  signed 
by  Francis  Wilson. 


EUGENE   FIELD'S  SKETCH  OF   HIS 
OWN   LIFE 

I  was  born  in  St.  Louis,  Mo.,  September  3d, 
1850,  the  second,  and  oldest  surviving,  son  of 
Roswell  Martin  and  Frances  (Reed)  Field,  both 
natives  of  Windham  County,  Vermont.  Upon 
the  death  of  my  mother  (1856),  I  was  put  in 
the  care  of  my  (paternal)  cousin,  Miss  Mary 
Field  French,  at  Amherst,  Mass.  In  1865,  I 
entered  the  Private  School  of  Rev.  James  Tufts, 
Monson,  Mass.,  and  there  fitted  for  Williams 
College,  which  institution  I  entered  as  a  fresh- 
man in  1868.  Upon  my  father's  death  in  1869, 
I  entered  the  sophomore  class  of  Knox  College, 
Galesburg,  111.,  my  guardian,  John  W.  Burgess, 
now  of  Columbia  College,  being  then  a  professor 
in  that  institution.  But  in  1870  I  went  to 
Columbia,  Mo.,  and  entered  the  State  Uni- 
versity there,  and  completed  the  junior  year 
with  my  brother.  In  1872,  I  visited  Europe, 
spending  six  months  and  my  patrimony  in 
France,  Italy,  Ireland  and  England. 

In  May  1873,  I  became  a  reporter  on  the  St. 
Louis  Evening  Journal.  In  October  of  that 

[13] 


year  I  married  Miss  Julia  Sutherland  Comstock 
(born  in  Chenango  County,  N.  Y.)  of  St.  Joseph, 
Mo.,  at  that  time  a  girl  of  16.  We  have  had 
eight  children  (three  daughters  and  five  sons). 

My  newspaper  connections  have  been  as 
follows:  1875-76,  city  editor  of  the  St.  Joseph, 
Mo.,  Gazette;  1876-80,  editorial  writer  on  the 
St.  Louis  Journal  and  St.  Louis  Times-Journal; 
1880-81,  managing  editor  of  the  Kansas  City 
Times;  1881-83,  managing  editor  of  the  Denver 
Tribune.  Since  1883,  I  have  been  a  contributor 
to  the  Chicago  Record  (formerly  Morning 
News) . 

I  wrote  and  published  my  first  bit  of  verse 
in  1879;  it  was  entitled  "Christmas  Treasures" 
(See  Little  Book  of  Western  Verse).  Just  ten 
years  later  I  began  suddenly  to  write  verse  very 
frequently;  meanwhile  (1883-89),  I  had  labored 
diligently  at  writing  short  stories  and  tales. 
Most  of  these  I  revised  half  a  dozen  times.  One 
(The  Were- Wolf),  as  yet  unpublished,  I  have 
re-written  eight  times  during  the  last  eight 
years. 

My  publications  have  been  chronologically, 
as  follows:  — 
1.  The  Tribune  Primer;    Denver,  1882.     (Out 

of  print  and  very,  very  scarce). 
(The  Model  Primer;  illustrated  by  Hoppin; 
[14] 


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3  'ff«/«T>*  -tt/Jut  o*v»A/UA*O  . 


Treadway,    Brooklyn,    1882.      A    pirate 
edition). 

2.  Culture's  Garland;   Ticknor,  Boston,  1887. 

(Out  of  print). 
A  Little  Book  of  Western  Verse;   Chicago, 

1889.    (Large  paper,  privately  printed  and 

limited). 
A  Little  Book  of  Profitable  Tales;  Chicago, 

1889.    (Large  paper,  privately  printed  and 

limited). 

3.  A  Little  Book  of  Western  Verse;  Scribners, 

New  York,  1890. 

4.  A  Little  Book  of  Profitable  Tales;  Scribners, 

New  York,  1890. 

5.  With  Trumpet  and  Drum;   Scribners,  New 

York,  1892. 

6.  Second  Book  of  Verse;  Scribners,  New  York, 

1893. 

7.  Echoes  from  the  Sabine  Farm;* 

Translations  of  Horace;  McClurg,  Chicago, 
1893. 

8.  Introduction  to  Stone's   First   Editions  of 

American  Authors;  Cambridge,  1893. 

9.  The  Holy  Cross  and  other  Tales;  Stone  and 

Kimball,  Cambridge,  1893. 
Ill  health  compelled  me  to  visit  Europe  in 
1889;   there  I  remained  fourteen  months,  that 

*  In  collaboration  with  my  brother,  Roswell  Martin  Field. 

[15] 


time  being  divided  between  England,  Germany, 
Holland  and  Belgium.  My  residence  at  present 
is  in  Buena  Park,  a  north-shore  suburb  of 
Chicago. 

I  have  a  miscellaneous  collection  of  books 
numbering  3500,  and  I  am  fond  of  the  quaint 
and  curious  in  every  line.  I  am  very  fond 
of  dogs,  birds  and  all  small  pets  —  a  pas- 
sion not  approved  of  by  my  wife.  My  fa- 
vorite flower  is  the  carnation.  My  favorites 
in  fiction  are  Hawthorne's  "Scarlet  Letter," 
"Don  Quixote"  and  "Pilgrim's  Progress."  I 
greatly  love  Hans  Christian  Andersen's  Tales, 
and  I  am  deeply  interested  in  folk-lore  and 
fairy  tales.  I  believejn  ghosts,  in  witches  and 
in  fairies.  I  should  like  to  own  a  big  astro- 
nomical telescope,  and  a  24-tune  music  box.  I 
adore  dolls. 

My  favorite  hymn  is  "Bounding  Billows." 
My  heroes  in  history  are  Martin  Luther,  Mme. 
Lamballe,  Abraham  Lincoln;  my  favorite  poems 
are  Korner's  "Battle-Prayer,"  Wordsworth's 
"We  are  Seven,"  Newman's  "Lead,  Kindly 
Light,"  Luther's  Hymn,  Schiller's  "The  Diver," 
Horace's  "Fons  Bandusia?,"  and  Burns'  "Cot- 
ter's Saturday  Night."  I  dislike  Dante  and 
Byron.  I  should  like  to  have  known  Jeremiah 
the  Prophet,  old  man  Poggio,  Horace,  Walter 

[16] 


Scott,  Bonaparte,  Hawthorne,  Mme.  Sontag, 
Sir  John  Herschel,  Hans  Andersen.  My  fa- 
vorite actor  is  Henry  Irving;  actress,  Mme. 
Modjeska. 

I  dislike  "politics,"  so  called.  I  should  like 
to  have  the  privilege  of  voting  extended  to 
women.  I  am  unalterably  opposed  to  capital 
punishment.  I  favor  a  system  of  pensions  for 
noble  services  in  literature,  art,  science,  etc. 
I  approve  of  compulsory  education.  I  believe 
in  churches  and  schools;  I  hate  wars,  armies, 
soldiers,  guns  and  fireworks. 

If  I  could  have  my  way,  I  should  make  the 
abuse  of  horses,  dogs  and  cattle  a  penal  offense; 
I  should  abolish  all  dog-laws  and  dog-catchers, 
and  I  would  punish  severely  everybody  who 
caught  and  caged  birds. 

I  like  music  (limited).  I  have  been  a  great 
theater-goer.  I  enjoy  the  society  of  doctors 
and  of  clergymen.  I  do  not  care  much  for  so- 
called  literary  people;  they  make  me  weary.* 
I  do  not  care  particularly  for  sculpture  or  for 
paintings;  I  try  not  to  become  interested  in 
them,  for  the  reason  that  if  I  were  to  cultivate 
a  taste  for  them  I  should  presently  become  hope- 
lessly bankrupt.  I  dislike  all  exercise  and  I 
play  all  games  very  indifferently.  I  love  to 

*  This  sentence  was  omitted  in  previous  editions. — Ed. 

[17] 


read  in  bed.  I  am  extravagantly  fond  of  per- 
fumes. My  favorite  color  is  red.  I  am  a  poor 
diner,  and  I  drink  no  wine  or  spirits  of  any  kind; 
I  do  not  smoke  tobacco.  I  dislike  crowds  and 
I  abominate  functions. 

I  am  six  feet  in  height;  am  of  spare  build, 
weigh  160  Ibs.,  and  have  shocking  taste  in 
dress.  But  I  like  to  have  well-dressed  people 
about  me. 

My  eyes  are  blue,  my  complexion  is  pale,  my 
face  is  shaven  and  I  incline  to  baldness.  It  is 
only  when  I  look  and  see  how  young  and  fair 
and  sweet  my  wife  is  that  I  have  a  good  opinion 
of  myself. 

I  am  fond  of  the  companionship  of  women, 
and  I  have  no  unconquerable  prejudice  against 
feminine  beauty.  I  recall  with  pride  that  in 
twenty-two  years  of  active  journalism,  I  have 
always  written  in  reverential  praise  of  woman- 
kind. I  favor  early  marriage. 

I  do  not  love  all  children.  I  have  tried  to 
analyze  my  feelings  towards  children,  and  I 
think  I  discover  that  I  love  them  in  so  far  as  I 
can  make  pets  of  them. 

I  believe  that,  if  I  live,  I  shall  do  my  best 
literary  work  when  I  am  a  grand-father. 

I  give  these  facts,  confessions  and  observa- 
tions for  the  information  of  those  who,  for 

[18] 


one   reason    or    another,    are    applying    con- 
stantly to  me  for  biographical  data  concerning 

myself. 

EUGENE  FIELD. 

New  Orleans, 
March  14, 1894. 


[19] 


EUGENE  FIELD'S  DIARY 

CONTAINING  AN  ACCOUNT  OF  HIS  INTERVIEW 
WITH  PRESIDENT  CLEVELAND,  ETC. 

Washington,  February  17, 1886.  —  Jules  Guth- 
ridge  sent  word  that  Col.  Dan  Lamont  had 
made  an  arrangement  for  me  to  meet  the  presi- 
dent at  8:30  in  the  evening.  We  went  to- 
gether to  the  White  House  and  sat  on  a  sofa  in 
the  Secretary's  room,  waiting  for  the  president 
to  appear.  Lamont  was  across  the  room  whis- 
pering with  a  stranger.  About  9  o'clock  Cleve- 
land came  out  of  a  side  room.  Lamont  said: 
"Mr.  Field  is  here;  would  you  like  to  see 
him?" 

Cleveland  said:  "Yes,  where  is  he?"  He 
turned  and  faced  us.  I  went  up  and  shook 
hands  with  him.  He  thought  he  had  met  me 
before,  but  I  assured  him  he  had  not.  We 
moved  toward  the  fireplace  and  he  leaned  on 
the  mantelpiece  as  we  talked  for  twenty  min- 
utes. He  looked  older  than  I  had  expected  and 
there  were  wrinkles  in  his  face  that  did  not 
appear  in  photographs  of  him.  I  told  him  that 

[20] 


the  Democrats  of  the  West  were  all  opposed  to 
his  policy  and  he  laughingly  admitted  that  he 
believed  they  were.  I  asked  him  to  join  me 
in  a  fishing  excursion  to  Spirit  Lake,  la.  He 
said  he  knew  he  would  enjoy  the  trip  but  he 
disliked  to  go  west  because  he  would  be  ex- 
pected to  put  himself  on  exhibition  there  — 
he  hated  that  sort  of  business.  He  spoke 
favorably  of  Gov.  Gil  Pierce,  of  Dakota.  Col. 
Lamont  gave  me  a  mammoth  cigar  which,  he 
assured  me,  was  not  a  Yorkville  cigar  nor  one 
of  the  kind  that  Col.  Andy  Welch  gave  away. 
It  seems  that  the  Daily  News  is  read  at  the 
White  House. 

New  York,  March  6,  1886.  —  Atty.  Gen. 
Banton  G.  Boone  and  Treasurer  Seibert,  of 
Missouri,  at  the  Fifth  avenue  hotel;  reporter 
Walker,  of  the  Star  took  them  over  to  Hoffman 
house  and  one  of  the  bell-men  was  assigned  to 
escort  the  party  over  the  premises.  The  guide 
expected  to  be  feed  but  the  Missourians,  know- 
ing nothing  of  these  things,  urged  him  to  take 
a  seat  in  the  barroom  and  to  drink  with  them. 
Had  he  done  so  with  his  uniform  on,  he  would 
have  been  discharged. 

New  York,  March  5,  1886.  —  Called  at  the 
Sun  office;  Mr.  Dana  not  in.  Saw  Mr.  'Mitchell 

[21] 


who  introduced  Paul  Dana,  who  reminded  me 
of  Huntley.  When  Mr.  Dana  came  in,  he  re- 
ceived me  very  cordially.  I  told  him  that 
Walter  Hutchins  felt  aggrieved  by  the  Sun's 
course  towards  the  Post.  Mr.  Dana  com- 
plained that  the  Post  had  virulently  assailed 
the  Sun.  He  inquired  after  Mr.  Stone.  "Your 
work  is  always  good,"  said  he;  "aside  from  it, 
the  Daily  News  is  very  dull.  Now  the  Tribune 
(Chicago)  is  sometimes  bright."  I  talked  with 
him  an  hour.  He  asked  me  to  find  out  whether 
'twas  true  that  Pulitzer  and  McCullagh  had 
once  come  to  blows  in  Adelaide  Neilson's  pres- 
ence. When  I  arose  to  go  he  said,  "Come 
around  every  morning  and  sit  in  that  chair 
and  visit  with  me."  This  touched  my  heart. 
"I  am  glad  to  find  you  looking  so  well,"  said  I. 
"I  hope  you'll  live  a  thousand  years  —  at  least, 
I  hope  I'll  die  first,  for  I  admire  and  respect  you 
very  much." 

Post  scriptum:  He  said  that  what  he  had 
predicted  of  President  Cleveland  was  coming 
true:  his  vanity  was  disrupting  the  party. 

New  York,  March  7,  1886.  —  Took  dinner  at 
5  o'clock  with  Henry  E.  Dixey  and  wife  at  the 
house,  122  West  44th  Street.  About  6  o'clock 
Mr.  Blakely  Hall  dropped  in.  He  urged  me  to 

[22] 


come  to  New  York  at  once  to  engage  in  the 
publication  of  a  weekly  paper.  I  learned  that 
Henry  Guy  Carleton  had  abandoned  the  scheme 
of  founding  a  weekly  paper  here.  (By  the  way, 
it  was  to  have  been  called  The  Autocrat.}  Dixey 
explained  that  the  reason  he  did  not  pay  any 
attention  to  Walter  Meadowcroft  in  the  Hoff- 
man house  was  because  Meadowcroft  had  D — 
with  him.  Dixey  received  a  play  from  D —  at 
one  time  and  gave  him  his  note  for  $100  for  it 
—  on  condition,  however,  that  D —  would  not 
present  the  note  for  collection  until  the  play 
was  produced.  D —  sold  the  note  for  $90  to 
a  New  York  broker  who  collected  it  under 
threats  of  suit. 

New  York,  March  7,  1886.  Called  on  Len 
Vanderpoole  at  his  home,  13  University  Place. 
Neither  he  nor  his  surroundings  looked  prosper- 
ous. He  told  me  that  William  K.  Vanderbilt 
and  Chauncey  Depew  had  promised  to  back 
him  in  the  newspaper  business.  The  paper  was 
to  be  called  The  Daily  Globe;  was  to  be  issued 
every  day  at  noon,  and  was  to  be  republican  in 
politics;  Vanderpoole  was  to  be  editor  and  Gill 
was  to  be  associate  editor.  The  best  men  were 
to  be  gleaned  from  all  parts  of  the  country  and 
a  man  from  the  London  Standard  office  was  to 

[23] 


be  dramatic  critic.  Vanderpoole  said  he  was 
very  anxious  to  have  Bates  and  me  connected 
with  the  paper  and  he  would  let  us  name  our 
salaries;  would  also  give  us  a  guaranty  for 
five  years. 


[24] 


<ll4>JiyL    dt. 


1*144.    'VK^vcu  -wo**. 


<nr 


Author's  inscription  on  first  leaf  of 
"A  Little  Book  of  Western  Verse,"  first 
edition. 


KlV 
/Wvn&  -^Avyrut     ^)ryvl/  ~— 


Author's  inscription  in  "Second  Book 
of  Verse,"   first  edition. 


Since  it  is  always  interesting  to  know  the  cir- 
cumstances and  conditions  that  gave  rise  to 
popular  poems  and  stories,  the  following  letter 
written  by  Field  to  a  friend  will  find  ready 
appreciation  among  his  many  admirers:  — 

Dear  Sir: 

My  Dutch  lullaby  was  written  one  night  in 
the  spring  of  1889.  The  little  story  occurred 
to  me  as  I  was  riding  home  on  the  street  cars. 
I  had  determined  to  write  a  series  of  lullabies 
and  had  begun  one  which  I  meant  to  entitle 
A  Dutch  Lullaby;  this  I  elaborated  subse- 
quently into  the  bit  of  verse  entitled  "Night- 
fall in  Dordrecht."  When  the  names  of  Wynken, 
Blynken  and  Nod  occurred  suddenly  to  me,  I 
abandoned  the  windmill  story  and  took  up  with 
the  wooden  shoe.  I  sat  up  in  bed  and  wrote 
out  the  lullaby  as  it  now  appears,  with  the 
exception  that  I  first  wrote 

"Into  a  sea  of  blue," 
and  this  line  I  changed  next  morning  to 

"Into  a  sea  of  dew." 
[25] 


This  original  draft  of  these  verses  was  made 
upon  brown  wrapping  paper  and  is  now  held 
by  Mr.  Charles  H.  Dennis,  of  the  Chicago 
Record. 

My  "Little  Boy  Blue"  was  written  (1889) 
within  the  space  of  two  hours  in  the  Record 
office  and  to  fill  an  order  from  the  America. 
The  name  of  Little  Boy  Blue  came  to  me  while 
I  wanted  a  rhyme  for  the  seventh  line  of  the 
first  stanza. 

My  verses  "To  a  Usurper"  are  actually  ad- 
dressed to  my  son  Frederick  who  as  a  little  boy 
used  to  say  that  when  he  grew  up  he  was  going 
to  marry  his  mother. 

"The  Dead  Babe"  was  written  (1898)  one 
evening  while  my  infant  son  lay  at  the  point  of 
death. 

"The  Stork"  and  "Little-Oh-Dear"  were 
inspired  by  my  baby  girl. 

"Our  Two  Opinions"  was  written  (1889) 
to  prove  to  a  friend  that  I  could  make  a 
fair  imitation  of  James  Whitcomb  Riley's 
style. 

My  wife's  favorite  of  my  verse  is  "The  Song 
of  Luddy-Dud,"  a  fragment  inspired  by  our 
baby  boy.  Similarly  inspired  was  "Garden  and 
Cradle." 

"Little  Homer's  Slate"  was  suggested  by  a 
[26] 


>t**-< 


a  .     9 


**+,  H*,vi-  '•>*&**>  £*,  *****  -*fi  A*  -U^K,  4»t*w 


TV    '>VW*/1/T*^  'vw* 


*v 


personal  experience  told  by  H.  H.  Kohlsaat,  of 
this  city. 

"The  Wanderer"  was  written  (1883)  and 
published  with  Mme.  Modjeska's  name  ap- 
pended, merely  to  hoax  the  public. 

"Buttercup,  Poppy,  Forgetmenot"  was  writ- 
ten (1891)  upon  the  anniversary  of  my  oldest 
boy's  death.  The  allusion  in  the  last  stanza  of 
the  dedication  of  With  Trumpet  and  Drum  is 
to  this  beloved  child. 

The  dedication  of  my  "Second  Book  of 
Verse"  was  written  in  Frankfort-on-Maine,  in 
the  summer  of  1890. 

My  Jewish  lullaby  was  written  at  Carlsbad 
and  was  inspired  by  the  sight  of  a  weary-looking 
Jewess  nursing  her  babe  in  the  highway  near 
the  Sprudel. 

With  the  money  I  got  for  my  verses  "Apple- 
Pie  and  Cheese"  I  bought  my  folio  Chaucer  of 
1598. 

The  foregoing  letter  does  not  disclose  the 
identity  of  the  person  to  whom  it  is  addressed, 
but  it  is  accompanied  in  the  Yenowine  collec- 
tion by  another  letter  beginning  "Dear  Lem- 
perly,"  which  proves  now  to  be  one  of  the  most 
interesting  letters  that  Field  ever  wrote.  Al- 
though it  is  undated,  internal  evidence  shows 

[27] 


it  to  have  been  penned  only  a  few  days  before 
his  death,  for  he  had  then  completed  eighteen 
chapters  of  his  last  book,  to  which  he  after- 
wards added  but  one  short  chapter  of  eleven 
pages.  From  this  letter  it  becomes  evident  that 
the  book  as  printed  is  in  reality  only  about  one 
half  the  length  he  planned  to  make  it,  for  he 
says:  "I  suppose  that  Chapter  XXXV  ought  to 
be  enough,  although  I  don't  see  how  I'm  ever 
going  to  say  all  I  want  to  within  that  compass." 
He  was  also  planning  two  other  books  which, 
had  he  lived  to  complete  them,  would  doubtless 
have  added  luster  to  his  name. 

In  addition  to  the  facsimile,  the  text  of  the 
letter  is  here  given  in  full: 

Dear  Lemperly: 

I  feel  under  great  obligations  to  you,  and  I 
thank  you,  for  this  volume  of  Maude  Robert- 
son-Hicks' poems.  Aside  from  its  rarity  in 
this  edition,  the  book  is  of  value  for  the  excep- 
tional excellence  of  the  work  with  which  —  I 
should  perhaps  blush  to  make  the  confession 
—  I  have  but  just  now  become  acquainted. 
This  lady  has  the  genuine  feeling  and  with 
this  gift  she  has  also  remarkable  power  and 
facility  of  expression,  the  naturalness  and  the 
nicety  of  her  method  appealing  to  me  with  un- 

[28] 


•Va^v4v 


ivv*    fH*s~t. 


Ai/vfc, 


usual  directness  and  force.  I  question  whether 
you  could  have  remembered  me  more  felici- 
tously than  by  taking  this  opportunity  to  send 
me  this  charming,  dainty  book. 

I  am  now  hard  at  work  upon  my  Love-affairs 
of  a  Bibliomaniac,  which  I  am  printing  in  install- 
ments in  the  Record  and  which  will  be  published 
next  spring.  I  have  reached  Chapter  XVI 1 1  and 
I  suppose  that  Chapter  XXXV  ought  to  be 
enough,  although  I  don't  see  how  I'm  ever 
going  to  say  all  I  want  to  within  that  compass. 
When  I  am  done  with  this  pleasant  task,  I 
shall  want  to  write  a  book  about  curio-collect- 
ing, and  after  that  I  shall  perhaps  feel  like 
attempting  —  what  I  have  long  been  thinking 
about  —  a  story  of  New  England  life,  involving 
Salem  witchcraft  and  the  brief  period  of  Nathan- 
iel Mather's  life.  Way  has  been  wanting  me  to 
do  the  preface  to  the  volume  of  Anne  Brad- 
street's  poems  which  the  Duodecimos  will  pub- 
lish: but  Anne  is  a  tough,  uncongenial  old  bird 
and  I  hesitate  to  tackle  her.  I  suppose  that 
one  is  justified  in  putting  off  a  task  which  he 
feels  he  cannot  do  well. 

I  have  long  been  intending  sending  you  my 
copy  of  the  Love-Songs  of  Childhood  for  your 
boy  to  ornament  with  his  autographic  signa- 
ture. I  must  delay  that  duty  no  longer.  I  want 

[29]" 


the  signature  upon  the  page  where  the  second 
picture  of  the  lad  occurs.  Renewing  to  you  my 
assurances  of  gratitude  and  of  affection,  I  am 
always  sincerely  yours, 

EUGENE  FIELD. 


[30] 


"VILLON  AND   I" 

(See  accompanying  facsimile) 

This  fine  poem,  which  Field  wrote  for  The 
Love  Affairs  of  a  Bibliomaniac,  only  thirty-five 
days  before  his  death,  is  prefaced  in  that  work 
by  the  following  remarks:  "I  was  not  done 
with  my  discourse  when  a  book  was  brought  in 
from  Judge  Methuen;  the  interruption  was  a 
pleasant  one.  'I  was  too  busy  last  evening,' 
writes  the  judge,  'to  bring  you  this  volume 
which  I  picked  up  in  a  La  Salle  street  stall 
yesterday.  I  know  your  love  for  the  scallawag 
Villon,  so  I  am  sure  you  will  fancy  the  lines 
which,  evidently,  the  former  owner  of  this  book 
has  scribbled  upon  the  fly-leaf.'  Fancy  them? 
Indeed  I  do;  and  if  you  dote  on  the  'scallawag' 
as  I  dote  on  him  you  also  will  declare  that  our 
anonymous  poet  has  not  wrought  ill." 

This  was  Field's  method  of  introducing  his 
own  verses  into  this  story,  as  witness  at  the 
end  where  he  introduces  his  poem  "One  Day  I 
Got  a  Missive,"  he  had  it  brought  in  by  Judge 
Methuen,  who  asked  him  to  give  it  a  place  "in 
these  memoirs." 

[31] 


The  "Villon  and  I"  poem  as  printed  differs 
slightly  from  the  MS.  The  title  given  it  is 
"  Francois  Villon,"  which  is  not  as  comprehen- 
sive as  "Villon  and  I."  Field  divided  his 
poem  into  three  eight-line  stanzas.  The  fifth 
line  of  the  first  stanza  he  originally  ended,  "my 
Margot  at  my  side,"  which  he  changed  in  the 
MS.  to  "my  frowzy  brevet-bride."  His  spell- 
ing of  "frowzy"  was  changed  and  printed 
"frouzy."  Possibly  he  may  have  intended 
"frowzy"  to  have  a  double  meaning,  suggesting 
"frow."  In  the  second  line  of  stanza  ii,  "yon 
deserted  boulevard,"  as  he  wrote  it,  would  be 
more  in  line  with  the  robber's  idea  than  "yonder 
gloomy  boulevard,"  as  it  was  printed.  A  de- 
serted boulevard  would  doubtless  suit  a  robber's 
purposes  better  than  a  gloomy  one. 

Four  lines  farther  on,  "to  our  brothel  with 
our  gain"  was  printed,  "to  our  bordel  with  our 
gain."  The  third  line  from  the  end  was  changed 
and  printed  "Go,  fetch  my  pen,  sweet  Margot, 
and  a  jorum  of  your  wine!"  and  in  lieu  of  the 
closing  quotation  marks  in  the  MS.,  a  line  of 
dots  was  inserted.  Then  the  two  parenthetical 
lines  at  the  end  were  printed  without  the  paren- 
thesis marks.  There  are  a  few  other  unimpor- 
tant variations. 

After  inserting  the  Villon  poem,  Field  con- 
[32] 


TVV^VM 


>»*M 


<T' 


/*>u    i/  . 


/ 

1  «J« 


. 
IrvUiAA'V  -tvrrwt/  ,    5"i* 


-mut 


'.} 


tinued:  "My  acquaintance  with  Master  Villon 
was  made  in  Paris  during  my  second  visit  to 
that  fascinating  capital,  and  for  a  while  I  was 
under  his  spell  to  that  extent  that  I  would  read 
no  book  but  his,  and  I  made  journeys  to  Rouen, 
Tours,  Bordeaux,  and  Poitiers  for  the  purpose 
of  familiarizing  myself  with  the  spots  where  he 
lived,  and  always  under  the  surveillance  of  the 
police.  In  fact  I  became  so  infatuated  with 
Villonism  that  at  one  time  I  seriously  thought 
of  abandoning  myself  to  a  life  of  crime  in  order 
to  emulate  in  certain  particulars  at  least  the 
example  of  my  hero." 

This  poem  was  not  printed  in  Scribner's 
"Complete  Edition"  of  Eugene  Field's  poems, 
1915;  for  what  reason  it  is  impossible  to  say. 
Field's  words,  "Original  draft,"  as  shown  in 
the  margin  of  the  MS.  facsimile  settles  any 
doubt  as  to  its  being  his  own  composition. 


[33] 


The  last  Manuscript  that  Eugene  Field  wrote 
is  accompanied  in  the  Yenowine  collection  by 
the  following  statement,  probably  by  Yenowine 
himself:  — 

FIELD:  The  rarest  of  all  Field  Manuscripts. 
Eugene  Field  was  found  dead  in  bed  about 
4  o'clock  on  the  morning  of  November  4,  1895. 
His  friend,  G.  H.  Yenowine,  who  was  spending 
the  night  with  the  family,  was  with  Mr.  Field 
off  and  on  all  the  preceding  evening  and  up  to 
midnight.  Lying  in  bed  Mr.  Field  had  a  soft 
paper  tablet  and  while  they  were  at  dinner  he 
began  writing  a  verse  on  the  famous  old  book 
dealers  of  London,  Paris,  Edinboro  and  Leipsic, 
to  be  used  in  the  book  he  was  then  publishing 
as  a  serial,  The  Love  Affairs  of  a  Bibliomaniac. 
The  names  of  these  dealers  had  been  written 
out  for  him  by  his  friend  Geo.  M.  Millard,  of 
McClurg  &  Co.  He  could  not  compose  with  the 
usual  facility  and  after  talking  with  him  a  few 
minutes,  he  tore  two  pages  of  an  unfinished 
poem  beginning  — 

Oh,  London  is  as  fine  a  town, 
[34] 


flrv* 


- 
.^•/,     ' 


from  the  tablet  he  held  in  his  hand,  and  folding 
these  pages  with  the  notes  furnished  by  Millard, 
handed  the  package  to  his  friend,  saying:  "Put 
these  in  your  pocket,  George,  and  when  we  go 
down  town  tomorrow  I  must  see  Millard  about 
these  names  he  gave  me."  The  MS.  is  written 
with  a  lead  pencil,  two  verses  are  completed  and 
two  more  verses  blocked  out.  This  was  the 
end  of  Mr.  Field's  life  task.  He  died  a  few 
hours  later. 

In  Roswell  Field's  Introduction  to  The  Love 
Affairs  of  a  Bibliomaniac  he  says:  "During  the 
afternoon  of  Saturday,  November  2,  the  nine- 
teenth instalment  of  'The  Love  Affairs'  was 
written.  It  was  the  conclusion  of  his  literary 
life.  The  verses  supposedly  contributed  by 
Judge  Methuen's  friend,  with  which  the  chapter 
ends,  were  the  last  words  written  by  Eugene 
Field.  .  .  .  In  the  early  morning  of  November 
4  the  soul  of  Eugene  Field  passed  upward.  On 
the  table,  folded  and  sealed,  were  the  memoirs 
of  the  old  man  upon  whom  the  sentence  of  death 
had  been  pronounced.  On  the  bed  in  the  corner 
of  the  room,  with  one  arm  thrown  over  his 
breast,  and  a  smile  of  peace  and  rest  on  his 
tranquil  face,  the  poet  lay." 

The  statement  accompanying  the  present 
[35] 


MS.  —  that  Field  handed  it  to  his  friend 
Yenowine,  saying:  "Put  these  in  your  pocket, 
George,"  explains  how  it  came  to  escape  the 
public  eye.  Its  existence,  moreover,  was  not 
known  even  to  Roswell  Field,  as  his  own  words 
testify  in  substance. 

The  first  page  of  Millard's  list  is  missing,  but 
the  others,  here  given  in  facsimile,  show  some 
rather  interesting  comments;  especially  the  one 
on  page  3:  "The  thrifty  Edinboro  booksellers 
all  have  short  names,  —  as  short  as  possible, 
because  thereby  there  is  economy  in  ink  and 
in  time."  As  Field  used  the  names  he  ran  them 
through  with  pencil,  but  he  apparently  neglected 
to  cross  off  Suckling,  Ellis,  Bailey  and  Hutt, 
whose  names  he  grouped  together  in  the  second 
stanza. 

As  marking  the  closing  chapter  in  a  literary 
career  of  such  singular  interest  and  charm  as 
that  of  Eugene  Field  has  for  the  American  people 
this  little  piece  which  represents  the  last  touch 
of  his  pencil  to  paper,  is  perhaps  the  most  pre- 
cious item  of  Fieldiana  in  existence. 

Oh,  London  is  as  fine  a  town 

As  ever  I  have  seen  — 
There's  an  old  bookstand  at  every  hand 

And  several  in  between; 
[36] 


IMPORTERS 


BOOKSELLERS   AND   PUBLISHERS 


STATIONERS 


A.  C.  McCLURG  &  Co, 

117,  119,  AND  121  W  ABASH  A  VENUE 
CORNER  MADISON  STREET 


JTfrWyCrvv  . 


CHICAGO.^.  iss 


oux^-d 


IMPORTERS 


BOOKSELLERS   AND    PUBLISHERS 


STATIONERS 


A.  C.  McCLURG  &  CO. 

117,  119,  AND  121  W  ABASH  AVENUE 
CORNER  MADISON  STREET 


3 


CHICAGO 189 


IMPORTERS 


BOOKSELLERS   AND  PUBLISHERS 


STATIONERS 


A.  C.  McCLURG  &  Co. 

117,  119,  AND  121  WABASH  AVENUE 
CORNER  MADISON  STREET 


4- 


C  H  ICAGO 


-  —  V.\  <^ 


-  IT 


But  arm  yourself  with  wherewithal 
Before  you  make  the  rounds 

For  treasures  they  range  all  the  way 
From  shillings  up  to  pounds. 

Sing  Bumpus,  Sotheran,  Quarilch,  Roche, 

Sing  Edwards  and  Dobell; 
Sing  Maggs  and  Bull  whose  shops  are  full 

Of  rarities  to  sell! 
Sing  Rimell,  Jackson,  Suckling,  George: 

Sing  Ellis,  Bailey,  Hutt 
Sing  wormed  antiques,  uniques 

And  motley  Bibliomaniac  freaks 

Large  paper  and  uncut! 

At  Manchester  and  Liverpool, 

And  Edinboro'  town 
Are  bibliopoles — God  bless  their  souls! 

Of  proper  great  renown ! 
At  Glasgow  and  at  Birmingham 


Sing  Hitchman,  Hopkins,  Forester, 
Sing  Pitcher,  Sutton,  Brown 

From  towering  folio's  down; 
Sing  Downing 

Sing  Young 

[37] 


In  the  back  of  this  volume  is  a  list  printed 
from  Field's  holograph  manuscript  giving  in 
alphabetical  order  the  correct  titles  of  nearly 
all  his  verse  and  stories  published  prior  to 
1894,  a  year  before  his  death,  and  the  books 
in  which  they  appear.  The  first  page  is  given 
in  facsimile.  Although  the  manuscript  is  not 
dated,  in  a  note  at  the  end  he  refers  to  a 
memoir  he  wrote  for  a  volume  "printed,  St. 
Louis,  1894." l  It  may  be  observed  that  while 
the  manuscript  list  contains  titles  to  several 
pieces  "Not  yet  collected,"  Field  did  not  in- 
clude the  title  of  "Penn  Yan  Bill's  Wooing," 
written  Oct.  15,  1887,  and  first  printed  by  The 
Bibliophile  Society  in  1914.  He  wrote  this  in  a 
volume  for  his  friend  William  C.  Buskett,  and 
perhaps  forgot  about  it,  though  it  was  one  of 
the  cleverest  and  most  spontaneous  things  he 
ever  did.  A  number  of  other  uncatalogued 
poems  written  in  the  same  book  —  and  which 
do  not  appear  to  have  been  published  —  are 
here  printed  for  the  first  time.2 

1  The  title  to  this  volume  is,  "  Tributes  in  Memory  of  Ruth  C. 
Gray." 

2  These,  with  the  Penn  Yan  Bill  poem,  were  previously  issued 
by  Mr.  Bixby  in  a  limited  facsimile  edition  for  complimentary  dis- 
tribution; but  they  do  not  appear  ever  to  have  been  issued  in  type 
form  until  now. —  Ed. 

[38] 


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•- 


NOVEMBER 

The  night  is  dark  and  the  night  is  cold 

And  the  wind  blows  fierce  and  strong, 
And  the  rich  man  sits  in  his  castle  old  — 
He  drinks  his  wine  and  he  counts  his  gold 
As  the  night  goes  frowning  along,  along, 
And  the  nightwind  sings  its  song. 

The  wind  speeds  out  to  the  withered  lea 

Afar  from  the  greedy  throng, 
Where  the  poet  abideth  in  poverty  — 
Nor  castle,  nor  wine,  nor  gold  hath  he, 

But  he  heareth  the  nightwind's  song  —  its 
song 

As  the  night  goes  frowning  along. 

Oh,  give  me  no  castles,  proud  and  old, 

Nor  honors  that  station  brings  — 
Give  me  no  plenty  of  wind 1  and  gold, 
But  give  me  the  soul,  when  the  nights  be  cold, 

To  hear  what  the  nightwind  sings  and  sings 

As  it  rustles  its  voiceful  wings. 

1886. 

1  Field  wrote  "  wind,"  but  he  probably  meant  "  wine." 

[39] 


TO   FRANK  W.    REILLY 

If  I  were  rich  enough  to  buy 

A  case  of  wine  (tho'  I  abhor  it!) 
I'd  send  a  quart  of  extra  dry 

And  willingly  get  trusted  for  it. 
But,  \ackaday\you  know  that  I'm 

As  poor  as  Job's  historic  turkey  — 
In  lieu  of  Mumm,  accept  this  rhyme, 

An  honest  gift,  tho'  somewhat  jerky. 

This  is  your  silver- wedding  day  — 

You  didn't  mean  to  let  me  know  it! 
And  yet  your  smiles  and  raiment  gay 

Beyond  all  peradventure  show  it! 
By  all  you  say  and  do  it's  clear 

A  birdling  in  your  heart  is  singing, 
And  everywhere  you  go,  you  hear 

The  old-time  bridal  bells  a-ringing. 

Ah,  well,  God  grant  that  these  dear  chimes 

May  mind  you  of  the  sweetness  only 
Of  those  far-distant  callow  times 

When  you  were  bachelor  and  lonely, 
And  when  an  angel  bless'd  your  lot 

(For  angel  is  your  helpmate,  truly), 
And  when,  to  share  the  joy  she  brought, 

Came  other  little  angels,  duly. 

[40] 


So  here's  a  health  to  you  and  wife  — 

Long  may  you  mock  the  Reaper's  warning, 
And  may  the  evening  of  your  life 

In  rising  sons  renew  the  morning; 
May  happiness  and  peace  and  love 

Come  with  each  morrow  to  caress  ye, 
And  when  you're  done  with  earth,  above 

God  bless  ye,  dear  old  friend  —  God  bless  yel 

June  9,  1886. 


MR.   PEATTIE'S   RUBBERS 

Hard  by  his  desk  one  stormy  night, 
Whilst  their  possessor  paused  to  write 
His  criticisms  terse  and  bright, 
Lay  Mr.  Peattie's  rubbers. 

The  night  was  wild  with  rain  and  sleet, 
The  slush  ran  riot  in  the  street  — 
In  short,  the  world  outside  was  meet 
For  Mr.  Peattie's  rubbers. 

But  when  the  office  clock  struck  one 
And  journalistic  work  was  done, 
Some  other,  thieving  son-of-a-gun 
Took  Mr.  Peattie's  rubbers. 
[41] 


A  man  with  unkempt  beard  and  hair 
Went  snooping  wildly  here  and  there, 
But  found  no  traces  anywhere 
Of  Mr.  Peattie's  rubbers. 

Now  curses  on  the  callous  soul 
Of  that  remorseless  wretch  who  stole 
The  subject  of  this  dismal  dole  — 
Viz:  Mr.  Peattie's  rubbers. 

April  10,  1886. 


THE   HUMANE   LAD 

Why  should  a  naughty,  f reward  boy 
The  harmless  little  fly  assail? 

Or  why  his  precious  time  employ 
At  pulling  honest  Rover's  tail? 

Where  e'er  I  go,  each  living  thing 
Has  its  predestined  place  to  fill, 

And  naught  that  moves  on  foot  or  wing 
Was  made  for  boys  to  vex  or  kill. 

The  little  fly,  howe'er  so  frail, 
Was  made  on  Rover's  hide  to  prey, 

And  faithful  Rover's  honest  tail 
Was  made  to  brush  the  fly  away. 
[42] 


So  let  each  bird  and  beast  enjoy 
The  vain,  brief  life  which  God  has  giv'n, 

Whilst  I  my  youthful  hours  employ 
In  works  that  fit  the  soul  for  heav'n, 

1886. 


A  NATIONAL  HYMN 

Whether  on  hill  or  plain, 
Blood  of  the  patriot  slain 

Hallows  our  sod ; 
While  from  the  glorious  air 
Vaulting  our  land  so  fair 
Fall,  as  an  incense  rare, 

Blessings  of  God. 

Holy  the  heritage 
Blazoned  on  hist'ry's  page 

For  us  to  keep; 
Wrapped  in  thy  mantles  red, 
With  our  dear  flag  o'er  head, 
Rest  thee,  illustrious  dead  — 

Sweet  be  thy  sleep! 

Princes,  that  scorn  the  Right  — 
Nations,  whose  pride  is  Might, 
Crumble  to  dust; 
[43] 


Freedom  the  boon  we  crave 
No  man  shall  be  a  slave 
Where'er  our  banner  wave  - 
God  is  our  trust! 

Seeing  those  early  years 
Dim  thro'  a  mist  of  tears, 

Pausing,  we  stand ; 
While  spirit  voices  share 
This  universal  pray'r 
Filling  the  solemn  air  — 

"God  bless  our  land!" 


Sept.  17, 1887. 


YE  CREWELL  SASSINGER  MILL 

All  upp  &  downe  ye  river  &  along  ye  sandy  shore 
Ye  yemen  ben  a  moaning  &  ye  women  skrike 

full  shrill 
&,  like  a  praroor  fire,  ye  news  are  spredde  from 

doore  to  doore 

That  Sawney  leesed  a  finger  in  ye  sassinger 
mill. 

O  Sawneys  hand  itt  ben  as  faire  as  ever  dole  a 

pack 

Or  drawed  a  pair  of  five  spotts  on  ye  deuces 
for  too  fill; 

[44] 


None  bolder  hande  nor  Sawneys  never  whoppit 

up  ye  jack  — 
But  now  it  leesed  a  finger  in  ye  sassinger  mill! 

His  fayther  slew  a  barrow  on  a  Moneday  after- 

noone  — 
This  morning,  whiles  that  Sawney  did  ye 

hopper  all  to-fill, 
His  evill  sister  Betty  gave  ye  cranke  a  turn  too 

soone, 
&  Sawney  leesed  a  finger  in  ye  sassinger  mill! 

1887. 


UNDER  THE  GREENWOOD  TREE 

The  sheriff  sleeps  in  a  marble  vault  — 
The  kynge  in  a  shroud  of  golde, 

And  upon  the  air  with  a  chanted  prayer 
Mingles  the  mock  of  moulde. 

But  the  deere  draw  to  the  shady  pool, 

The  birds  sing  blithe  and  free, 
And  the  wildflowers  bloom  on  a  hidden  tomb 

Under  the  greenwood  tree. 

Oct.  '87. 


[45] 


The  titles  in  quotation  marks  in  the  left  hand 
column  of  this  index  have  been  added  to  those 
in  Field's  manuscript  in  order  to  make  the  list 
of  titles  more  nearly  complete.  Field  probably 
intended  to  have  this  published,  whether  sep- 
arately or  in  conjunction  with  other  material 
it  is  impossible  to  say.  It  must  have  surprised 
even  the  author  himself  on  reviewing  his  list 
to  see  the  number  of  pieces  from  his  pen. 
His  own  arrangement  gives  the  titles  in  the 
alphabetical  order  of  only  the  first  initial, 
and  with  the  idea  of  preserving  it  in  its  origi- 
nal form  the  same  rule  has  been  observed  in 
the  printing. 


[46] 


nA'    '     J  "*« 
ftrvfc 


TWU 


H*       cCviXfo^V 


^, 


utxi    V 


nrtiMl 


ftrr&  (4 


VERSE 

(The  title  of  the  piece  Is  first  given,  and  then  the  title  of  the  book 
in  which  it  is  to  be  found.  Where  a  piece  is  published  In  "With 
Trumpet  and  Drum  "  as  well  as  in  the  volume  named,  an  asterisk 
(*)  is  affixed  to  the  title  of  that  piece.)  [Headnote  by  Field.] 

Apple-Pie  and  Cheese Little  Book  of  Western  Verse 

Ailsie,  my  Bairn ' " 

At  the  Door  * "        "      " 

Ashes  on  the  Slide Second  Book  of  Verse 

Armenian  Lullaby  * "                " 

Amsterdam,  In "         "      "      " 

Always  Right "          ••<«.< 

"  Armenian  Mother,  The  "     .     .     .  With  Trumpet  and  Drum 

"  Actor,  A  Very  Weary  "   ....  Scribner's  Complete  Edition 

"April  Fool,  The" "               "             " 

"Ahkoondof  Swat,  The"       ..." 

"  Abu  Midjan " "               "             " 

"Ancient  Oaths,  A  Ballad  of"     .     . 

Bumpville,  The  Ride  to    ....  Love-Songs  of  Childhood 

Brook,  The 

Bench- Legged  Fyce,  The  ....  "          "          " 

Bottle-Tree,  The 

Buttercup,  Poppy,  Forget-me-not  *  .  Second  Book  of  Verse 

Bibliomaniac's  Prayer,  The    .     .     .  Little  Book  of  Western  Verse 

Bibliomaniac's  Bride,  The      ...  "        ' " 

Boy-Blue —  See  Little  Boy  Blue  *     .  

BeYanger's "  Broken  Fiddle ".     .  "      "        "           " 

Beranger's  "  Ma  Vocation  "    ..."        "  "           " 

Stranger's  "  My  Last  Song,  Perhaps "     "        "     "        "  " 

Bottle  and  the  Bird,  The  ....  Second  Book  of  Verse 

Bells  of  Notre  Dame "         ••«•<« 

Barbara "         "      "      " 

Boltons  22,  The ' ' 

Bill's  Tenor  and  My  Bass      ...  

[47] 


Bion's  Song  of  Eros Second  Book  of  Verse 

Billings  of  Louisville,  Mr.       ...        " 

Bethleham-Town " 

"Booh!" Love-Songs  of  Childhood 

Beard  and  Baby 

Brag,  Little  Miss 

Button- Eyes,  Lady 

Bambino  (Corsican  Lullaby)  *     .     .   Second  Book  of  Verse 

"  Brook,  To  a  Little  " With  Trumpet  and  Drum 

' 'Bell- Flower  Tree,  The"  .     ..." 
"  Balow,  My  Bonnie "        ....      " 

"  Ben  Apfelgarten  " Scribner's  Complete  Edition 

"  Be  My  Sweetheart "        .... 
"Broken  Ring,  The"         .... 

"Boccaccio" 

"  Brook  Song,  A  " 

"Bow- Leg  Boy,  The"       .... 

"  Beranger's  '  To  My  Old  Coat' " 

"  Bion,  A  Spring  Poem  From  "     . 

"  Bion  the  Smyrnean,  Two  Idyls  from  "      " 

"Big  Thursday" 

"Bachelor  Hall" 

"  Bethlehem  Town  " 

"Boy,  The" 

"  Bugaboo,  The  " 

Catullus  to  Lesbia Second  Book  of  Verse 

Clink  of  the  Ice,  The 

Crumpets  and  Tea 

Cafe  Molineau,  The " 

Christmas  Eve " 

Christmas-Time,  The  Peace  of  *  .     .  " 

Chrystmasse  of  Olde Little  Book  of  Western  Verse 

Christmas  Treasurer  * " 

Christmas  Hymn 

Camelot,  A  Proper  Trewe  Idyll  of    .  " 

Cheyenne,  At Second  Book  of  Verse 

Carlsbad " 

Corinthian  Hall " 

Child  and  Mother  * Little  Book  of  Western  Verse 

Casey's  Table  d'Hote 

Conversazzhyony,  The      ....  " 

[48] 


Croodlin'-Doo,  Little  *      ....    Little  Book  of  Western  Verse 
Cunnin'  Little  Thing,  The      .     .     .    Love-Songs  of  Childhood 

"Cobbler  and  Stock" With  Trumpet  and  Drum 

"  Contentment " Scribner's  Complete  Edition 

"  Convalescent  Gripster,  The  "     .     . 

"  Clare  Market " "  " 

"Cradle  Song" 

"  Clouds,  Song  of  the "      ....          "  "  " 

"Coquetry" "  "  " 

"  Cricket's  Song,  The  "      .... 

"Clnna,  To" 

'" Cuss-Word,'  Romance  of  a"    .     . 

".Cakes,  The  Remorseful "...          "  "  " 

"  Cold  Consolation " " 

"Christmas" 

"  Chicago  Weather  " 

"  Collector's  Discontent,  The  "    . 

"  Christmas  Wind,  A  Song  of  the  "    .          " 

"Cutting  of  the  Cake,  The"  (White 

House  Ballads) 

"  Christmas  Morning  " 

Dr.  Rabelais (Not  yet  collected) 

Dr.  Sam " 

Drum,  The Love-Songs  of  Childhood 

Dinkey-Bird,  The 

Dream-Ship,  The (Not  yet  collected) 

De  Amicitiis Little  Book  of  Western  Verse 

Dana,  of  the  New  York  Sun,  Mr.     .  " 
Divine  Lullaby,  The  *...." 

Dear  Old  London Second  Book  of  Verse 

Doctors " 

Dibdin's  Ghost " 

Doings  of  Delsarte " 

Duel,  The Love-Songs  of  Childhood 

Doll's  Wooing,  The 

"  Death  of  Robin  Hood  "  .     .     .     .  Little  Book  of  Western  Verse 

"  Dead  Babe,  The  " Love-Songs  of  Childhood 

"  Dreams,  The  " Scribner's  Complete  Edition 

"  Drinking  Song,  A  " 

"  Discreet  Collector,  The "      .     .     . 
"  Dream  of  Springtime,  A  "    .     .     . 

[49] 


"  Dismal  Dole  of  the  Doodledoo,  The"  Scribner's  Complete  Edition 
"  Dream,  Dream,  Dream  "... 
"  Der  Mann  im  Keller  "     .     .     .     . 

"  Debutante,  The  " 

"  Denman  Thompson,  To "     .     .     . 

"  Emma  Abbott,  To  " Scribner's  Complete  Edition 

"Ed" 

"  Elfin  Summons,  An  "  .... 
"  Explorer's  Wooing,  The "  .  .  . 
"  Extinct  Monsters  " 

Flanders,  In Little  Book  of  Western  Verse 

Firelight,  In  the  * 

"  Fiducit "    .     . Second  Book  of  Verse 

Father's  Way 

Fisherman's  Feast,  The     ....        " 

Fiddle-dee-dee  I Love-Songs  of  Childhood 

Fisherman  Jim's  Kids 

"  Fly- A  way  Horse,  The  "  .     .     .     . 

"  Father's  Letter  " With  Trumpet  and  Drum 

"  Fairy  and  Child " "  .... 

"  Fire-Hangbird's  Nest,  The "      .     .      " 

"  Fate  of  the  Flimflam,  The  "      .     .    Scribner's  Complete  Edition 

"  Fairy  Lullaby,  A  " 

"  French  Must  Go,  The  "  .     .     .     . 

"  Fanchon  the  Cricket "     .     . 

"  From  the  Same  Canteen"    .     .     . 

"Fool,  The" 

"  For  the  Charming  Miss  I.  F.'s  Album  " 

Gold  and  Love  for  Dearie  *    ...  Little  Book  of  Western  Verse 

Gosling  Stew Second  Book  of  Verse 

Gettin'  On "         "      " 

Grandma's  Prayer With  Trumpet  and  Drum 

Ganderfeather's  Gift  *       ....  Second  Book  of  Verse 

Grandma's  Bombazine      ....        " 

"Goodbye —  God  Bless  Youl "    .     .  Little  Book  of  Western  Verse 

Good-Children  Street Love-Songs  of  Childhood 

Garden  and  Cradle 

Googly-Goo 

"  Grandsire,  The  " With  Trumpet  and  Drum 

[50] 


"Great  Journalist  In  Spain,  The"    .  Scribner's  Complete  Edition 

"Guess" "  "  " 

"Gettysburg" "  " 

"Good  Man's  Sorrow,  A"      ..."  "  " 

"  Gee  Swee  Zamericane "  ....          "  "  " 

"Grant" 

Holy  Grail,  The Culture's  Garland 

Horace,  Translations  and  Paraphrases  Echoes  from  the  Sabine  Farm 
Heine's  "  Widow  or  Daughter"  .  .  Little  Book  of  Western  Verse 
Hugo's  "Flower  to  Butterfly"  .  .  "  "  "  "  " 

Hi-Spy* "         "      " 

Happy  Household,  The     ....    Love-Songs  of  Childhood 

Holly  and  Ivy Second  Book  of  Verse 

Hawthorne  Children,  The  *    ...        "          "     "      " 

Humming-Top,  The Love-Songs  of  Childhood 

Heigho,  My  Dearie  (Orkney  Lullaby)  *  Little  Book  of  Western  Verse 
"Hushaby,  Sweet   My  Own"   (Lul- 
laby: By  the  Sea)  *       ....       

"  Hugo's  ' Child  at  Play'"      .     .     .   With  Trumpet  and  Drum 
"  How  Salty  Win  Out "     ....   Scribner's  Complete  Edition 

"Hushaby,  A" 

"  Heine,  A  Paraphrase  of  "  (Lyric  In- 
termezzo)                 "  " 

"  Heine  Love  Song,  A  "     ....  " 
"  Hymn  "  (From  the  German  of  Mar- 
tin Luther) "               "  " 

"  Hugo's  '  Pool  in  the  Forest' "    .     .          "  "  " 

" His  Lordship,  the  Chief  Justice"    . 

"  Hint  for  1884,  A  " 

"  How  Flaherty  Kept  the  Bridge  "    . 

"  Human  Nature  " " 

"  Her  Fairy  Feet " 

"Humanity" 

"Holland,  In" "  "  " 

"Hymn:  Midnight  Hour "     ..."  "  " 

"  Holman's  Farewell,  Mr."     ..."  " 

"  Humane  Lad,  The  " Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

Intry-Mintry  * Second  Book  of  Verse 

Ipswich " 

[51] 


Inscription  for  a  Silver  Plate  .     .     .  Love-Songs  of  Childhood 

"  Invitation  to  Sleep,  An"      ...  Scribner's  Complete  Edition 
"Indian  and  the  Trout,  The"      .  " 

"Illinois  War-Song,  An"  ....          "  "  " 

"111  Requited" 

Jewish  Lullaby  * Second  Book  of  Verse 

"Jest  'fore  Christmas  "      ....  Love-Songs  of  Childhood 

"Jessie" Scribner's  Complete  Edition 

"  Jaffa  and  Jerusalem  Railway,  The "          "  "  " 

"Jennie" "  "  " 

"Jelly-Cake,  Ballad  of  the"  ..." 
"July,  The  5th  of" 

Kissing  Time Love-Songs  of  Childhood 

Krinken  * Little  Book  of  Western  Verse 

Korner's  Battle-Prayer     ....   Second  Book  of  Verse 
"King  Grover  Craves   Pie"   (White 

House  Ballads) Scribner's  Complete  Edition 

"  Kissing  of  the  Bride,  The  "  (White 

House  Ballads) "  "  " 

Little  All-Aloney Love-Songs  of  Childhood 

Little  Mistress  Sans-Mercl      .     .     .   With  Trumpet  and  Drum 

Little  Boy  Blue  * Little  Book  of  Western  Verse 

Little    Blue    Pigeon    (Japanese    Lul- 
laby) *      "        "      " 

Lollyby,  Lolly,  Lollyby  *  ....       ' 

Lyttel  Boy,  Ye  * "        "      " 

Little  Homer's  Slate* Second  Book  of  Verse 

Lizzie* "          ««.. 

Lydia  Die "  "      " 

Lover's  Lane,  Saint  Jo      ....        "         «...      «< 

Long  Ago  * Little  Book  of  Western  Verse 

Little  Mack "        "      " 

Little  Bit  of  a  Woman,  A  (Dedication)  Second  Book  of  Verse 

"Little-Oh-Dear" Love-Songs  of  Childhood 

"  Lyman,  Frederick,  and  Jim"     .     .   Scribner's  Complete  Edition 

"Lullaby,  A" "  "  " 

"  Limitations  of  Youth,  The "  .  .  " 
"  Love  Song —  Heine "  .  .  .  .  " 
"  Leap- Year  Episode,  A  ".  ..." 
"  Lament  of  a  Neglected  Boss  "  .  . 

[52] 


"  Leap- Year  Lament,  A  "  .     .     .     .  Scribner's  Complete  Edition 

"  Little  Miss  Dandy  " 

"  Ladye  Julia,  To  the  "      .... 
"Longings" 

Mother,  To  My Second  Book  of  Verse 

Modjesky  as  Cameel " 

Moschus,  "The  Lost  Cupid"  of  .  " 

Marthy's  Younkit Little  Book  of  Western  Verse 

Mediaeval  Eventide  Song  *     ...       " 

Madge;  Ye  Hoyden 

Mother  and  Child "        ' 

"Mary  Field  French,  To"      .     .     .     Scribner's  Complete  Edition 

"Mysterious  Doings" 

"Mary  Smith" 

"My  Playmates" 

"  Marcus  Varro  " 

"My  Garden" 

"  Morning  Song  " 

"M.   L.   Gray,  To"  (Dedication  to 

Echoes  from  the  Sabine  Farm)  . 
"  Mother  and  Sphinx  "  (Egyptian  Folk- 

Song)  

"Mystery  of  Pasadene,  The" 

"  Modern  Martyr,  The  "    .... 

"Mugwump,  The  Song  of  the  "    . 

"  Mein  Faeder  Bed  " 

"  Mr.  Peattie's  Rubbers  ".     .     .     .   Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

Naughty  Doll,  The  * Second  Book  of  Verse 

Night  Wind,  The Love-Songs  of  Childhood 

Norse  Lullaby  * Little  Book  of  Western  Verse 

"  Nightfall  in  Dordrecht"  *    ...  Second  Book  of  Verse 

"Nellie" With  Trumpet  and  Drum 

"New  Orleans,  In" Scribner's  Complete  Edition 

"New- Year's  Eve" "  " 

"  Nightmare,  A  " 

"November" 

"  November  "  (another  poem)      .     .  Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

"  National  Hymn,  A  " Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

[53] 


Our  Lady  of  the  Mine      ....  Little  Book  of  Western  Verse 

Our  Two  Opinions "         "  "  " 

Old  English  Lullaby "        "      " 

Our  Biggest  Fish "        "  "  " 

Over  the  Hills  and  Far  Away      .     .  Love-Songs  of  Childhood 

Onion  Tart,  The Second  Book  of  Verse 

Our  Whippings  * Second  Book  of  Verse 

Oh,  Little  Child  (Sicilian  Lullaby)  *  .  Little  Book  of  Western  Verse 

"Old  Times,  Old  Friends,  Old  Love"  Second  Book  of  Verse 

"One  Day  I  got  a  Missive"  .     .     .  Scribner's  Complete  Edition 

"  Old  Spanish  Song " "  "  " 

"  Official  Explanation,  The  "  ..."  " 

"  Of  Blessed  Memory "      ....          "  "  " 

"Ohio  Idyl,  An" 

"Ohio  Ditty,  An" 

"Old  Sexton,  The" Scribner's  Complete  Edition 

"  Oglesby  (1884)  " 

"  Overworked  Word,  An "       ..."  " 

"O'Connor's  I loquint  Spache"     .     .          "  "  " 

"Oh,  London  is  as  Fine  a  Town  "     .  Verse  and  Prose,  The  Biblio- 
phile Society,  1917 

Play,  At Love-Songs  of  Childhood 

Providence  and  the  Dog   ....  Second  Book  of  Verse 

Poet  and  King "         «««««< 

Passing  Saint,  To  the "         "      "      " 

Partridge,  The "  "      " 

Plaint  of  a  Missouri  Coon      ...        "          "      "      " 
Pittypat  and  Tippytoe  *   ....        "         " 
Pneumogastric  Nerve,  The     ...        "         "      " 

Prof.  Vere  de  Blaw Little  Book  of  Western  Verse 

Peach,  The  Little "         "      "      " 

Psalm,  The  Twenty-third       ...        "         "  " 

Pic-NicTime Love-Songs  of  Childhood 

Peter-Bird,  The (Not  yet  collected) l 

"  Paraphrase,  A  " Scribner's  Complete  Edition 

"Pan  Liveth" "  "  " 

"  Princess  Ming,  The " "  "  " 

"  Piteous  Plaint,  A " "  "  " 

"  Poet's  Return,  The  "       .... 

"  Play  on  Words,  A  " "  " 

1  Afterwards  printed  by  Scribner's. 

[54] 


"  Patriot's  Triumph,  A  "    .     .     . 
"  Political  Maud,  The "     .     .     .     . 
"  Plea  for  the  Classics,  A  "      .     . 
"  Parlez-Vous  Francals? "  .     .     .     . 
"'Puritan' — 'Genesta'"       .     .     . 
"Passing  of  the  Compliment,  The' 
(White  House  Ballads)  .     .     .     . 
"Poem  in  Three  Cantos,  A  "  . 

"Pike's  Peak" 

"Pie,  In  Praise  of" 

"  Penn  Yan  Bill's  Wooing  "    . 
"Parting  Song,  A "      .... 


Scribner's  Complete  Edition 


The  Bibliophile  Society,  1914 
Verse  and  Prose;  The  Biblio- 
phile Society,  1917 


Rock-a-by  Lady,  The Love-Songs  of  Childhood 

Robin  Goodfellow,  To       ....  Little  Book  of  Western  Verse 

Red        Second  Book  of  Verse 

Red,  Red  West,  The "         

Rare  Roast  Beef "         <««•«• 

"Rose  and  the  Iceberg,  The"      .     .  Scribner's  Complete  Edition 
"  Rhine-Land  Drinking  Song,  A  " 
"Rubaiyat  of  Omar  Khayyam,  From 

the" 

"Reilly's  Peaches,  Mrs."  ....  "               " 

"  Reilly,  Frank  W.,  To  "   ....  Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

Some  Time  * Little  Book  of  Western  Verse 

Soubrette,  To  a "               "        "          " 

Soldier,  Maiden  and  Flower   ...  "        "      "        "           " 

Smith,  John Second  Book  of  Verse 

St.  Martin's  Lane "         " 

Singing  in  God's  Acre,  The     ...  "          "      "      " 

Sugar-Plum  Tree,  The  *    ....  "         

Shut-Eye  Train,  The Love-Songs  of  Childhood 

St.  Jo  Gazette,  The Second  Book  of  Verse 

Schnellest  Zug,  The "          •••••• 

Shuffle-Shoon  and  Amber-Locks  .     .  Love-Songs  of  Childhood 
Swing  High  and  Swing  Low   ... 

Stork,  The         

So,  so,  Rockaby  So 

Suppose (Not  yet  collected) 

[55] 


Seeln'  Things  at  Night       ....    Love-Songs  of  Childhood 
"  Song  of  Luddy-Dud,  The  "... 

"  Stoddards,  The  " Scribner's  Complete  Edition 

"  Star  of  the  East " 

"  Stoves  and  Sunshine  "     .... 

"Straw  Parlor,  The" 

"  Sister's  Cake  " 

"  Sleeping  Child,  The  "      .... 
"Sleeping  Baby's  Eyes,  To  a"     . 
"  Shoshone  Legend,  A  "     .... 
"Song  of  the  All-Wool  Shirt"      .     . 

"Scherzo,  A" 

"Secret  of  the  Sphinx,  The  "... 

"Spirit  Lake" 

"  Song  for  the  Departed  ". 

Sister  Rose's  Suspicions  (White  House 

Ballads) 

"Sag  Harbor" 

"  Susceptible  Widow,  The  "    ..." 

"Straw  Hat,  The" 

"Song" 

"Snakes,  The" 

"  Sabine  Farm,  My  " 

Thirty-Nine Little  Book  of  Western  Verse 

Telling  the  Bees Second  Book  of  Verse 

Tea-Gown,  The "         "      "      " 

Teeny-Weeny  * " 

Telka 

Three  Kings  of  Cologne    ....        " 

"Trot,  My  Good  Steed"  ....        "         "      "      " 

"  Truth  About  Horace,  The  "       .     .   Scribner's  Complete  Edition 

"  Three  Tailors,  The  " 

"Twin  Idols" 

"Taylor  Pup,  The  Ballad  of  the "     . 
"Trollope's  History  of  Florence,  After 

Reading" 

"  The  Old  Homestead  "      .... 

"  Two  Coffins,  The  " 

"  Two  Valentines  " 

"Two  Little  Skeezucks,  The"      .     . 
"Three-Cent  Stamp,  The"     ..." 

[56] 


"  Thomas  A.  Hendricks's  Appeal "    .  Scribner's  Complete  Edition 
"Tying   of   the  Tie,"  The   (White 

House  Ballads) 

"Three  Days  in  Springtime" 
"Truth  and  Simplicity  in  Song,   In 

Praise  of " "  " 

"  Tin  Bank,  The  " " 

Uhland's  "  Three  Cavaliers  ".     .     .  Little  Book  of  Western  Verse 

Usurper,  To  a  * "        " 

"Uhland's 'White  Stag'"       .     .     .  Scribner's  Complete  Edition 

"Uhland's  'Chapel'" 

"Uncle  Eph" "              " 

"  Under  the  Greenwood  Tree  "     .     .  Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

Valentine,  A Love-Songs  of  Childhood 

Virgil,  An  Eclogue  from    ....   Second  Book  of  Verse 

"Villon  and  I" Love  Affairs  of  a  Bibliomenia 

"  Valentine  To  My  Wife,  A  ".     .     .   Scribner's  Complete  Edition 
"  Violets'  Love  Story,  The  "    . 

"Virgilian  Picnic,  A" 

"  Vineyard,  The  " 

Wind,  The (Not  yet  collected) 

When  I  was  a  Boy Love-Songs  of  Childhood 

Wynken,  Blynken  and  Nod  (Dutch 

Lullaby) Little  Book  of  Western  Verse 

Wanderer,  The " 

With  Trumpet  and  Drum      .     .     .   With  Trumpet  and  Drum 

Watts,  An  Imitation  of  Dr.    .     .     .   Second  Book  of  Verse 

Waller  Lot,  Ballad  of  the  ....    Love-Songs  of  Childhood 

"Women  I  Love,  Ballad  of"  .     .     .   Scribner's  Complete  Edition 

"With  Two  Spoons  for  Two  Spoons  " 

"Wooing  of  the  Southland,  The" 
(Alaskan  Ballad) 

"With  Brutus  in  St.  Jo"  .     ..." 

"Winfreda"  (A  Ballad  of  the  Anglo- 
Saxon  Tongue) 

"Western  Boy's  Lament,  A" 

"Wedding- Day,  The"  (White  House 
Ballads) 

[57] 


"When  Stedman  Comes  to  Town"  .  Scrlbner's  Complete  Edition 

"War-Song,  A" 

"Ward  H.   Lamon,  Asleep   on   His 

Library  Floor,  To" " 

Yvytot  * Little  Book  of  Western  Verse 

"  Yellowstone  Park,  A  Battle  In  "     .   Scribner's  Complete  Edition 
"Yours  Fraternally'"       ....  "  " 

"  Ye  Crewell  Sassinger  Mill "       .     .   Verse  and  Prose;  The  Biblio- 
phile Society,  1917 

"  Zephyr  from  Zululand,  A  "  .     .     .   Scrlbner's  Complete  Edition 


SKETCHES  AND  TALES 

Bill,  the  Lokil  Editor     ....  Little  Book  of  Profitable  Tales 

Boomerangelungen,  The     .     .     .  Culture's  Garland 

Coming  of  the  Prince,  The       .     .  Little  Book  of  Profitable  Tales 

Christmas  Tree,  The  First  ...  "        "      " 

Cyclopeedy,  The  "         "     "         "           " 

Divell's  Chrystmasse,  The  .     .     .  Little  Book  of  Profitable  Tales 

Daniel  and  the  Devil     ....  The  Holy  Cross 

Dock  Stebbins Little  Book  of  Profitable  Tales 

Dante Culture's  Garland 

Ezra's  Thanksgiving  Out  West      .  Little  Book  of  Profitable  Tales 

Fido's  Little  Friend Little  Book  of  Profitable  Tales 

Fairies  of  Pesth,  The     ....  "        "                "            " 

Flail,  Trask  and  Bisland     .     .     .  The  Holy  Cross 

Franz  Abt " 

Felice  and  Petit-Ponlain     .     .     .  Little  Book  of  Profitable  Tales 

Hampshire  Hills,  The    ....  Little  Book  of  Profitable  Tales 

Holy  Cross,  The 

Introduction  to Stone's  First  Edition  of  Ameri- 
can Authors 

Jinin'  Farms,  The (Not  yet  collected) 

Ludwig  and  Eloise Little  Book  of  Profitable  Tales 

[58] 


Margaret;  a  Pearl    .... 
Mouse  and  the  Moonbeam,  The 
Mountain  and  the  Sea,  The 

Methuselah 

Mistress  Merciless    .... 

Old  Man,  The 

Oak-Tree  and  the  Ivy,  The 


Primer  Stories 


Rose  and  the  Thrush,  The 
Robin  and  the  Violet,  The 
Rodolph  and  His  King  . 
River,  The     .... 


Symbol  and  the  Saint,  The. 
Seal-Wife,  The  .  .  .  . 
Spring-Time,  The  . 


Touch  in  the  Heart,  The 
Xanthippe  .... 
Yaller  Baby,  The  Little 


Little  Book  of  Profitable  Tales 

The  Holy  Cross 

Little  Book  of  Profitable  Tales 

The  Tribune  Primer;  Denver, 
1882 

The  Holy  Cross 

Little  Book  of  Profitable  Tales 

The  Holy  Cross 

Little  Book  of  Profitable  Tales 

The  Holy  Cross 

Little  Book  of  Profitable  Tales 

The  Holy  Cross 

Culture's  Garland 

Little  Book  of  Profitable  Tales 


Twenty-one  Tales1 


The  Holy  Cross 

Joel's  Christmas 

Job  and  His  Ailment 

Leander  and  the  Parrot 

Mrs.  Macgregor's  Red  Gown 

John  Milton  and  His  Type- Writer 

Methuselah 

The  River 

Mrs.  Socrates 

The  Seal-Wife 


Jim's  Kids 

Old  Gramper  Growly 

Mistress  Merciless 

The  Lonesome  Little  Shoe 

Franz  Abt 

The  Catnip  Garden 

Daniel  and  the  Devil 

John  Henry's  Fishing 

An  Early  Fourth  of  July 

The  Coming  of  George 

The  Old  Hymn  Book 

1  Part  of  these  appear  in  the  index;  others  are  unidentified. —  Ed. 

[59] 


BOOKS   BY   EUGENE   FIFLD1 

A  Little  Book  of  Western  Verse;   Charles  Scribner's  Sons, 

New  York $1.25 

With  Trumpet  and  Drum;    Charles  Scribner's  Sons,  New 

York 1.00 

Second  Book  of  Verse;  Charles  Scribner's  Sons,  New  York  .      1.25 
Echoes  from  the  Sabine  Farm;  A.  C.  McClurg  Co.,  Chicago     5.00 
Love-Songs  of  Childhood;  Charles  Scribner's  Sons,  New  York     1.25 
Denver  Tribune  Primer;  Denver,  1882.    Out  of  print. 
Culture's  Garland;  Ticknor  &  Co.,  Boston.   Out  of  print. 
A  Little  Book  of  Profitable  Tales;    Chas.  Scribner's  Sons, 

New  York 1.25 

The  Holy  Cross  and  Other  Tales;  Stone  &  Kimball,  Chicago  .      1.25 

"  Auto- Analysis,"  Chicago,  1896 

"  Eugene  Field  to  Francis  Wilson,"  New  Rochelle,  1896 

"Second  Book  of  Tales,"  Scribner's,  New  York,  1896 

"Songs  and  Other  Verses,"  Scribner's,  New  York,  1896 

"  The  House,"  Scribner's,  1896 

"The  Love  Affairs  of  a  Bibliomaniac,"  Scribner's,  1896 

"  Florence  Bardsley's  Story,"  Chicago,  1897 

"Sharps  and  Flats,"  Scribner's,  New  York,  2  vols.  1900 

"The  Friar  Gonsol,"  Cadmus  Press,  New  York,  1900 

"  The  Story  of  the  Two  Friars,"  Chicago,  1900 

"A  Little  Book  of  Tribune  Verse,"  1901 

"The  Stars —  A  Slumber  Story,"  New  York,  1901 

"Hoosier  Lyrics,"  Donahue  &  Co.,  Chicago,  1905 

"John  Smith,  U.  S.  A.,"  Donahue  &  Co.,  Chicago,  1905 

"The  Clink  of  the  Ice,"  Donahue  &  Co.,  Chicago,  1905 

"The  Wink-A-Way  Land,"  Donahue  &  Co.,  Chicago,  1905 

"  The  Poems  of  Eugene  Field,"  Complete  Edition,  Scribner's,  1915 

NOTE:  In  addition  to  the  works  specified  above,  Mr.  Field  con- 
tributed an  introduction  to  Herbert  Stuart  Stone's  "First  Editions 
of  American  Authors;"  and  a  memoir  of  Mrs.  Ruth  C.  Gray  to 
a  memorial  volume  privately  printed,  St.  Louis,  1894.  The  book 
"With  Trumpet  and  Drum"  is  composed  exclusively  of  child  verse 
compiled  from  "A  Little  Book  of  Western  Verse"  and  "Second 
Book  of  Verse  "  and  written  previous  to  the  year  1893.  [This  note 
was  written  by  Field  at  the  conclusion  of  his  list.] 

1  The  first  nine  titles  constitute  Field's  list  as  he  wrote  it.  Those 
quoted  have  been  added. —  Ed. 


[60] 


LIST  OF  BOOKS  AND  MANUSCRIPTS   IN  THE 

GEORGE  H.  YENOWINE  COLLECTION  OF 

EUGENE   FIELD'S  WORKS 

"  Second  Book  of  Verse."  Scribner  &  Son,  1893.  First  edition, 
inscribed,  with  four  lines  of  verse  by  Field.  Contains  bookplates 
of  Field  and  Yenowine. 

"A  Little  Book  of  Profitable  Tales."  First  edition,  1890.  In- 
scribed by  Field.  Bookplates  of  Field  and  Yenowine  pasted  in. 

"  Dibdin's  Ghost."  A  little  volume  containing  the  original  MS. 
with  rubricated  initials;  also  a  printed  copy.  These  are  followed 
by  several  newspaper  clippings,  pasted  in  on  blank  leaves.  Book- 
plates of  Field  and  Yenowine  inserted. 

"Culture's  Garland."  Published  by  Ticknor  &  Co.,  Boston, 
1887.  Inscribed  by  Field:  — "To  George  H.  Yenowine  this  error 
of  youth  is  regretfully  presented  by  the  committer  thereof.  Eugene 
Field."  Yenowine's  bookplate  pasted  in. 

"  In  Memory  of  Mrs.  Ruth  C.  Gray."  Privately  printed,  1894. 
Bookplate  of  George  H.  Yenowine.  Inscribed  by  Field:  "With 
very  much  love  to  George  H.  Yenowine.  Eugene  Field." 

"Echoes  from  the  Sabine  Farm."  Bookplates  of  Geo.  H. 
Yenowine  and  Eugene  Field.  Contains  proof  sheet  of  "Sharps 
and  Flats "  signed  in  two  places  by  Field.  This  copy  is  inscribed 
by  Mrs.  Eugene  Field  as  follows:  — "To  Geo.  H.  Yenowine:  As 
an  expression  of  my  appreciation  of  a  true  friend  —  shown  to  me 
in  his  devotion  to  my  husband's  memory,  and  his  many  acts  of 
kindness  to  his  nearest  and  dearest. —  I  beg  he  will  accept  this  book 
from  me  in  grateful  love.  Mrs.  Eugene  Field.  Feb.  14,  1896." 

"  Love  Songs  of  Childhood,"  1894.  —  Japanese  vellum  copy  No. 
IX,  with  Field's  bookplate  and  ten  lines  of  a  verse  in  his  autograph. 
Frontispiece  portrait  of  Field  inscribed,  "Always  affectionately 
yours,  dear  Yenowine";  signed  and  dated  Feb.  8,  1895. 

"With  Trumpet  and  Drum."  First  edition,  1892.  Charles 
Scribner's  Sons.  Limited  edition,  this  being  No.  66. 

"  Little  Book  of  Profitable  Tales,"  of  which  only  250  copies  were 
issued,  this  being  No.  177.  Printed  by  M.  E.  Stone,  Chicago, 
1889.  Inserted  bookplate  of  Geo.  H.  Yenowine.  Contains  four 
lines  of  verse  in  Field's  handwriting,  also  a  pen  sketch  in  colors  by 
Field.  Inserted  in  the  book  are  the  names  of  the  subscribers. 

[61] 


"The  Symbol  and  the  Saint,  a  Christmas  Tale."  Autograph 
facsimile  edition,  1886.  Contains  bookplate  of  Yenowine,  and  is  in- 
scribed by  Field  with  eight  lines  of  prose,  dated  May  27,  1895. 

"The  Tribune  Primer."  Limited  edition,  privately  printed  at 
Marion  Press,  1900;  handmade  paper.  Copy  No.  76.  Contains 
bookplate  of  Field  and  Yenowine,  and  a  card  on  which  Field  wrote: 
"That's  right;  come  along;  plenty  of  room;  glad  to  see  you. 
Bring  mamma, —  E.  F."  Also  a  letter  from  G.  M.  Williamson 
to  Yenowine. 

"The  Holy  Cross  and  Other  Tales."  Limited  edition;  Stone 
&  Kimball,  Chicago,  1893.  Copy  No.  3.  Contains  bookplates 
of  Eugene  Field  and  Yenowine,  and  is  inscribed  by  Field  with  six 
lines  of  prose. 

"The  Holy  Cross."  Twenty  copies  printed  on  Japanese  vellum 
by  Stone  and  Kimball.  Presented  by  Field  to  Mrs.  Yenowine. 
Has  inserted  bookplate  of  Yenowine  and  is  inscribed  by  Field. 
Also  inscribed  by  Mrs.  Yenowine. 

"A  Little  Book  of  Western  Verse."  First  edition,  1890;  being 
Mr.  Field's  personal  copy  which  he  used  on  the  platform.  In- 
serted are  bookplates  of  Field  and  Yenowine.  Inscribed  by  Field 
with  a  six-line  stanza  addressed  "to  Mr.  and  Mrs.  George  H. 
Yenowine." 

"  Echoes  from  the  Sabine  Farm."  Limited  edition;  30  copies 
on  Japan  and  70  on  handmade  paper.  This  copy  is  one  of  the 
latter,  No.  41,  signed  by  Francis  Wilson.  Contains  bookplate 
of  Yenowine,  and  is  inscribed  by  Field  with  two  lines  of  prose  and 
a  six-line  stanza,  signed. 

A  portion  of  "Mistress  Merciless,"  which  was  dedicated  to  Mrs. 
Yenowine.  Bookplate  of  Yenowine  inserted.  "Contents  and 
Dedications,"  in  Field's  handwriting,  and  underneath  are  fifteen 
titles,  with  names  of  persons  to  whom  they  are  dedicated.  Ten 
letters  in  Field's  handwriting  are  inserted  on  stubs.  Volume  is 
bound  in  black  leather. 

Large  paper  edition  of  "  Echoes  from  the  Sabine  Farm,"  McClurg 
&  Co.,  Chicago,  1893.  500  copies,  of  which  this  is  No.  435.  Book- 
plates of  Field  and  Yenowine  inserted;  also  portrait  of  Field  in 
his  library.  Contains  complete  poem,  "  Lydia  Die"  in  Field's 
writing,  signed.  Book  has  various  original  pen  and  ink  and  water 
color  sketches  all  the  way  through,  done  by  several  different  artists. 
Original  manuscript,  bound,  of  "Odes  of  Horace";  containing 
twenty-three  of  Field's  translations  and  paraphrases  from  Horace, 

[62] 


all  signed.  Twenty-one  of  these  were  published  in  "  Echoes  from 
the  Sabine  Farm,"  and  two  are  unpublished.  Field's  full  signa- 
ture appears  at  the  top  of  the  second  front  waste-leaf,  which  is 
otherwise  blank.  The  manuscripts  are  all  prepared  with  great  care 
and  most  of  them  have  large  initials  and  headings  in  a  variety 
of  colors  of  ink.  Some  contain  penciled  instructions  to  the  printer 
and  other  memoranda.  Pasted  in  the  front  are  the  bookmarks 
of  Field  and  Yenowine. 

"  Florence  Bardsley's  Story."  Printed  by  W.  Irving  Way  in 
1897.  Contains  bookplate  of  Yenowine.  Autographed  by  Caro- 
line Way,  the  illuminator. 

"  Eugene  Field,  An  Auto-analysis."  Chicago,  1896.  Limited 
edition  on  Japanese  vellum.  Contains  bookplate  of  Yenowine 
and  is  autographed  by  F.  M.  Morris,  the  publisher. 

"  Eugene  Field  to  Francis  Wilson."  Privately  printed,  1896, 
100  copies  on  handmade  paper.  Contains  Yenowine's  bookmark 
with  Francis  Wilson's  signature  on  it. 

"  Tribune  Primer."  First  edition,  "  Reprinted  from  the  "  Denver 
Tribune";  no  date.  Bound  with  original  front  paper  cover.  Book- 
marks of  Field  and  Yenowine  pasted  in. 

ORIGINAL  MANUSCRIPTS 

"Villon  and  I."    Two  pages.    Original  draft. 

"Mistress  Merciless,"  five  pages  engrossed  and  illustrated  by 
Field.  Unfinished. 

Two  and  a  quarter  pages  of  manuscript,  giving  information  to  a 
correspondent  about  origin  of  a  dozen  of  Field's  most  popular  poems. 

Original  draft  of  personal  sketch  of  Field's  life,  dated  New  Orleans, 
March  14th,  1894.  Three  pages.  Written  and  published  by  him- 
self. It  was  intended  to  be  sent  in  reply  to  the  numerous  re- 
quests for  information  concerning  himself.  It  was  first  printed 
as  a  four-page  leaflet  in  a  limited  edition  of  eight  copies,  of  which 
No.  7  accompanies  the  manuscript.  Later  published  by  Morris 
as  "An  Auto-Analysis." 

Contract  written  by  Field  forming  a  co-partnership  with  John 
A.  Reavis  to  become  editors  and  publishers  of  the  "Washington 
Critic."  Never  consummated.  One  sheet. 

"Mistress  Merciless,"  newspaper  proofs,  5  pages  corrected  and 
autographed  by  Field. 

"  Unto  Us  a  Child  is  Born."    One  page  MS.    Suppressed. 


[63] 


Manuscript  of  short  story,  "Sweet  One  Darling  and  the  Moon- 
beam." Dated  Chicago,  June  30th,  1895.  4  pages.  Signed. 

Thirteen  pages  of  manuscript  giving  correct  title  of  verses  and 
stories  written  by  Field  prior  to  1894,  a  year  before  his  death. 
Very  carefully  compiled  by  Field  for  the  use  of  a  friend. 

Two  folio  pages,  diary  of  Field's  visit  to  Washington  and  an 
Interview  with  President  Cleveland. 

Auto  Proof  of  "  Springtime."    Set  up  in  galley  form. 

The  most  precious  of  all  Field  Manuscripts.  Two  pages  of 
rough  paper  torn  from  a  tablet,  and  containing  two  finished  and 
two  unfinished  stanzas  written  in  pencil  a  few  hours  before  Field's 
death.  There  are  three  extra  sheets  on  which  appear  the  names 
of  bookdealers  in  London,  Paris  and  other  European  centers, 
written  out  by  G.  M.  Millard  for  Field's  use  in  composing  his  poem. 


[64] 


• 


